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•^iPHRISIHN THILORi^ 

DRESS GarriNe AGADEnY< 
SHE SGHO0Li ^ 0F # ART 



1229 Arch Str^(?t, 



Philadelphia, Pa. 




The Largest and i^«/ ZJr^w Cutting School in America. The <7w/j' School in Philadelphia where I^adies 

can get personal instruction in Drafting and Cjitting every Class and Style of Ladies' garments by 

Accurate and Scientific principles and the i^M/)/ school where a. finished coursein Basting, Seuwg, 

Designing, Finishing and French Tailor Dressmaking can be obtained. 



TERM S: FROM $5 T O $50. 
Philadelphia References : 

D. M. RATTAY, ii6 S. nth St. f 

V MERCHANT TAILORS, 
JOHN STILZ & SON, 919 Chestnut St. 

STRAWBRIDQE & CLOTHIER, the largest Ury Goods house in the world. 









A GUIDE 



To Cutting Ladies' Garments^ 



-OR— 



.Key to the Cutting Board. 



Never before has so much sound practical Instruction and good counsel appeared in the same number of 

pages. With this Instrjictor and Guide, no Cutter capable of exercising a fair amount of judgement should 

ia.\\ in turning out good /ittittg a.nA stylish garments. It gives to the young and aspiring cutter & general 

and pretty clear and comprehensive view of the entire situation and shows the way to acquire the Art of 

netting, either by self-tuition, or through responsible teachers. As a glance at its title and contents will 

show, it is adapted to every requirement of the cutting room and is distinguished for its simplicity combined 

with practical utility. Being a work to which frequent reference will be made, head lines are put to all the 

different subjects throughout the work, and a copious Index, showing how the finger can be placed upon 

each subject treated, at once, is also placed at the ^wfi? of the work. It will he valued, not only for the 

practical utility oi the. ga.rxaents\\\\xstra.te.6., but also for its ar^M/zV: arrange7nents a.ri.6. ejfecls; and we have 

the utmost confidence in stating that it is an Index of Fashion which will stand unrivalled either in America 

or Eiirope. 

Respectfully, 

THE AUTHOR. 



$100.00 REWARD will be paid for information that will lead to the conviction of dny one teaching the 
Parisian Tailor System or any of its Principles without a written Contract from the inventor. 

P. A. FOURIER. 



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PREFACE. 



THE INVENTOR of THE PARISIAN TAILOR SYSTEM takes pleasure in presenting to the 
public, his THIRD EDITION of INSTRUCTIONS, which by close study, application and perseverance 
he has advanced far over all publications of its kind, and gives to his patrons the benefit of his combined 
skill. He has aimed at the production of a work that should supply the young, or inexperienced Cutters 
with all that may require and to fit them for the post of Ladies' Tailors. This work will, in every detail 
supply the necessary materials for such study, and by application and perseverance aiiy Cutter of ordinary 
tact and intelligence can, by practical application in daily experience become master of this art and qualify 
herself as Cutter, to fill the most responsible position in a high-class trade. Or if she desires to develop 
her trade by the snaking of ladies' garments turned out with such fit, taste and style, as cannot fail to 
ensure success. Such, briefly, is the aim of this work, and its readers must judge whether that Aim has 
been carried to a practical issue. The object of this work is to instruct, to improve, to encourage : 
and if it does not go into the matter as fully as some of its readers would desire, the Author pleads the 
impossibility of treating every phase of this vast subject of Ladies' Tailoring within the limits of one 
volume. It may be, however, that even in the defects of this work, others may take courage and perse- 
vere 'midst adverse circumstances and innumerable difficulties till a successful issue results, 

Respectfully, 

PHILADELPHIA, PA. THE AUTHOR. 



A /0-AS?3 - 



Parisian Tailor Practical Guide 



-}— »-TO"»— f- 



SCIENTIFIC # DRESS # CUTTING 

— •» INTRODUCTORY s^» - 



Every lady should possess the knowledge and 
art of garment cutting: for though they may never 
have occasion to use a needle or thimble, they 
should know the form their body requires the 
pattern to be cut in order to produce a satisfactory 
fitting garment, as it gives a lady unlimited field for 
design, and brings the art of dress designing and 
making within easy reach. To the lady who de- 
sires to make her own garments and those of her 
family ; the teacher who desires to instiuct her 
class ; the dressmaker who has to work for all 
forms and ages. 

The Parisian Tailor System 

is so simple that a child nine years of age easily 
learned it in a short time and proved and demon- 
strated its simplicity and superior merits openly and 
befores the eyes of scores of the best dressmakers 
and critics in Philadelphia in a public exhibition 
at the PARISIAN TAILOR ACADEMY, 1229 
APCH ST., on Thursday, November 22, 1894. 
Scores of ladies for the first time in their lives saw 
measures taken, the pattern drafted, the garment 
cut from the cloth, basted, stitched and pressed 
before being tried on, but which every lady present, 
without one dissenting voice, unhesitatingly pro- 
nounced to be a perfect, scientific fit, and so 
testified in writing which is on file at our Academy. 
We have aimed at 

Simplicity, Accurracy and Style, 

And these three are embodied in the most marked 
manner in our teachings. The advantages we ofier 
are not to be found in any other Academy or school 
of cutting in the World. The PARISIAN TAILOR 
SYSTEM is not a chart, nor any elaborate system 
of scales, straps or bands of brass with movable 
slides and thumb screws — twin relics of the past 
age — but a new, surprising and original method 
that even a school girl can understand. 

Recently a demand has sprung up all over the 
country for an Instructor and Guide to Ladies Tailor- 
ing in all its important features; its science, art, style, 
making and trimming ; this work is specially an ed- 
ucation in all these particulars and the lines upon 
which real success is achieved will be found set forth 
in this work, and we trust will prove a fresh stimu- 
lus to the study of Art and Style in Ladies Tailoring, 

Science, Art and Style. 

These three all potent and for reaching elements 
embrace all that is vital to the Ladies' Tailor. Science 
is fit, Art is taste and Style is Fashion. In our treat- 
ment of these subjects we are fully conscious of the 
inadequacy of our pen to do them justice, and also not 



unmindful of the significance of the poetic warning 
that " Fools rush in where Angels fear to tread." 
We therefore wish it understood that our teachings 
are confined to the practical exposition of such ideas 
of these subjects in relation to Ladies' Tailoring as 
we have been able to grasp and successfully apply. 
We think we have touched upon every subject which 
would be of interest to the Cutter, and if they are 
thoroughly mastered and the rules laid down are care- 
fully followed out, the cutter should be competent 
to open any Fashion Journal and correctly reproduce 
any design at sight, which is not possible to get by 
any other system in the World — assuming always 
that the cutter is capable of using ordinary judgment 
in its application. 

Fashion 

The Empress of the World, upon her Throne 
erected by mathematics, dictates to the millions 
who worship at her shrine, both the style, shape 
and extent of every garment ; the acknowledged 
Queen of beauty, gowned in the 'Princely gifts of 
the world's choicest looms and crowned with earth's 
richest gems and most precious stones,' yet to the 
chariot wheels of the Tailor System, which regulates 
and governs the fit of her garments, she is ten 
thousand times bound as a slave ! 

The Tailor System with its mathematical inch 
and its integral parts is the only systetn which is 
used, recognized and honored by all the most 
eminent and learned French, German, English and 
American Tailors and Cutters, prominent among 
which are the names of those scholarly and learned 
gentlemen dressmakers and cutters, Martin, Red- 
fern, Felix, Worth. The Tailor System, is the 
only ijistrument assigned by the inexorable law of 
mathematics to the province of garment drafting and 
will so remain until the laws of mathematics 
change, and those who exceed her requirements are 
simply ''muddying" a clear stream. "Chart" and 
"machine" vendors who claim an "improvement" 
on the Tailor's Square are at sea in the boat of 
Ignorance with sails of Presumption with oars of 
Arroga7ice, with Disappoint7nent for a gale and 
Failure for the nearest port. THE PARISIAN 
TAILOR SYSTEM is based upon the solid rock 
of pure mathematics where it stands as a strong 
lighthouse, shining clear above above the fog, giv- 
ing light for darkness, truth for error, and as its 
principles are assailed and tested, its light will shine 
with increased brilliancy and splendor. 
Very respectfully yours, 

P. A. Fourier, oM, 

Philadelphia, Pa. 



Important To Beginners. 



The printed Life Sized Instruction Draft is the Key to your success as Cutters. It is therefore not only 
Important, but ABSOLUTELY necessary that you should master it before attempting to draft for other sizes 
and practice till you can make the entire draft accurately to the measures given, in at least fifteen minutes- 
N. B. — In the " Printed Instruction Draft " representing all parts of body and sleeve drafting in its prin- 
ciples and construction lines as taught and illustrated, YOU will find the GOLDEN KEY that unlocks all 
the secrets of the Greatest and Most Poptilar and successful Cutters the World ever produced. This the 
first and only system invented by which we can scientifically and accurately obtain the exact position and 
build of the figure, or mathematical mold of the human form and transfer the same thereby either directly 
or indirectly upon the goods to a scientific fit from neck to floor. 

The Parisian Tailor System stands preemi7iently Alone in this, and is a Half Cetitury in advance of 
the Age, in this Great Discovery alone. 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




PLAIN BASQUE WfTH TWO UNDER ARM GORES. 




ENGLISH BACK. 



PARISIAN TAILOR COMPLETE INSTRUCTOR 



N. B. Always remember to look on Instruction Draft 
for Numbers not found in the Diagram. 



Plain Basque with Two Under Arm 
Gores. 

DIA. I. 

Draw lines to dot 14 same as ' 'INSTRUCTION 
DRAFT." Now find "SCALE No. 2" in measure 
book and add iST and 2ND gores together opposite 
WAIST MEASURE and make dot 15 that distance 
from dot 14. Now finish the front same as "In- 
struction Draft" with the following exception : 
Make dot 57 i inch from dot 56. Now make dot 
G the width of iST gore from dot 15 ; make H 
the width of 1ST gore from dot 31, and draw line 
I from G to H straight. Draw line J from 15 to 31 
with "Under Arm Curve" point H at 15. Make 
dot K J^ inch from 56 and draw line L. M is 3 
inches below H and N is i inch from M. Now 
draw line O, draw line P from O to L 6 inches be- 
low the waist. Draw 2nd gore same as Instruction 
Draft and finish skirt lines same as ist gore. Use 
any style ol back desired. 



English Back. 

DIA. 2. 

Draw lines same as Instruction Draft with the 
following exception ; Make dot A in centre of 
shoulder seam and draw line 24 straight from dot 
15 to A. Make a dart }4 inch from A and finish 
same as indicated by dotted lines. 



French Back with Dart. 

DIA. 3. 

Draw lines same as Instruction Draft with fol- 
lowing exceptions : Make dot A 3 inches below dot 
15 and finish same as Dia. The dari from 25 to A 
is taken in the lining before Cutting the Outside. 



Back for Stooping and Round 
Shoulders. 

DIA. 4. 

Draw lines same as Instruction Draft with fol- 
lowing exceptions : Make dot A from ^ to ^ inch 
from top of line I and make dot 3 i yi inches from 
A. Draw line B from A to 7. Draw line 18 from 
15 to 7. Continue line 26 to Arms Eye which will 
be traced with line 24 for the dark seam. Make the 
seams the same length from 25 to Arms Eye and 
finish same as dotted line. Any extention to "length 
of back ' ' must be added below natural waist line as 
indicated by dotted lines C and D. 



Seamless Back, Loose Fitting. 

DIA. 5. 

Is made by marking oflF the width of back of 
waist from dot 6 and finish same as Instruction Draft. 
Line i is laid on fold of goods Solid lines represent 
the seamless back. 



Seamless Back, Tight Fitting. 

DIA. 5. 

The only Variation is to the make dot 14 i inch 
from dot 6 and draw line 18 straight below 14 to 
length of waist desired, finish same as Instrtction 
Draft, and lay line 18 on fold of goods. The seam- 
less back should be made from ^ to "^ inch nar- 
rower at waist than plain back and that amount 
added to some of the other pieces. This style of 
back is used mostly for Riding Habits, Coats, Bas- 
ques and Jackets with loose fronts. 



French Back. 

DIA. 5. 

Is illustrated by the dotted lines, the back and 
side form being cut in one piece from dot 14. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 




PARISIAN TAILOR COMPLETE INSTRUCTOR 




THE COAT, JACKET AND RIDING HABIT SLEEVE. 

The Coat, Jacket and Riding Habit 
Sleeve. 

DIA. 6. 

Same as Instruction Draft with the following 
exceptions : Make dots 13 and 14 lyi inches from 
dot 12. Make dot 182 inches from dot 3. Make 
19 /^ of Elbow measure from 18. Make 23 J^ of 
Hand Measure from 4. Finish same as Diagram. 
Fullness can be added as indicated by dotted lines. 



Leg 0' Mutton Sleeve. 

DIA. 7. 

Trace Out the upper and under parts of the 
plain sleeve and place them as shown in the Dia- 
gram. Draw line A as indicated by dotted lines 
and make dot B in center. Use B as a pivot and 
sweep the line marked "Leg O' Mutton Sleeve." 



Qigot Sleeve. 

DIA. 7. 

Same as Leg O' Mutton with the following 
exceptions : Continue inside" seam of under part 
2 inches above Arm Eye. Come out ^ inches from 
the top of inside seam of upper and under parts and 
draw new lines from the e/bow the same length as 
inside seams. Hollow out the under part to the 
2 inch dot; now draw line D as shown by dotted line 
and make dot E in the center, use E as a pivot and 
sweep the line marked Gigot Sleeve. 



Queen Anne Collar. 

DIA. 8. 

Draw line i and 2 at right angles, come down 
2 inches and make dot 3. Mark off 6 inches on line 
2 for width of collar and make dot 4. Line 5 is 
from 4 to 2 ; 6 is 2 inches from 4. Make a second 
dot 6 at yi the neck measure from 3. Make 7 
I inch above 6 ; make 815 inches from line 2 ; draw 
line 9 square from 8 and make 10 at width of collar; 
make 1 1 yi inch above 8 and 1 2 J4 inch below and 
to the le/t oj 8 ; 13 connects 11 and 12 ; 14 connects 
4 and 10. Make R i inch more than )4 of neek mea- 
sure from 4 ; place point L on system at 6 and draw 
line 15 to R; place point W. at R and draw line 16 
to II ; place point I at 3 and draw 17 to dot 7, then 
place I at 7 and draw 18. The style of this collar 
can be varied to suit the wishes of the cutter or 
wearer. Line the collar with crinoline and wire the 
edge and it will roll at any point desired. This col- 
lar can be used for Bretels, Revers, etc 



Long Medici Collar. 

DIA. 8. 

Is the same as Queen Anne Collar with the fol- 
lowing exceptions : Place point T at 6, (turn sys- 
tem over) and draw line 19 to dot 11. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 







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LEG O'MUTTON SLEEVE. 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




QUEEN ANNIE COLLAR. 



Short Medici or Storm Collar. 

DIA. 8. 

Is the same as Queen Anne, with the following 
exceptions : Make A i inch more than y^ of neck 
measure from 3. Place point I on system at dot 3 
and draw line B as shown by dotted line ; now place 
point R at A and draw line C as indicated by dotted 
line- If a seam is desired in center of back, it is 
put in as shown by dotted line inside of line 5. 
This collar is, at the time we write, a very popular 
finish for all garments at the neck. The excessive 
size on the top edge allows it to be worn much 
deeper than it could be in any other way, and con- 
sequently this commends it to those who are exposed 
to inclement weather, and for that reason has been 
ca\\e6.t\iQ slortn collar. Either of the collars as des- 
cribed in Diagram 8 may be finished pointed, curved 
or square and therefore furnish considerable scope for 
the designer. This collar is interlined with buck- 
ram and, as the lining of these show, it is generally 
of silk or some bright material and should be nicely 
and neatly finished. 



Parisian Dartless Basque. 

DIA. 9. 

Draw lines to dot 21 same as Instruction Draft. 
Make dot 22 at Yi the amount for Darts from 7. 
Now look on scale opposite WAIST MEASURE 
and get the width from back Dart to Under Arm 
seam for, say, 22 Waist Measure, which is 3 inches. 
You now add the i ^ inches width in front of first 
Dart to the J^ inch between the Darts and you have 
I % inches, always, which you add to the width from 
back Dart to Under Arm Seam, (in this case 3 ins.) 
and you have 5^ inches. Dot 23 is the width of 



this space from 22. Draw line 24 straight from 15 
to 23; 25 is the Under Arm measure below 15; 26 is 
half-way between 15 and 25; 27 is the curved line 
between 15 and 25 and is the sewing line. Place 
point L at dot 28 and draw line 29 to dot 22 and 
finish skirt lines as shown in Diagram. The back, 
side form and under Arm Gore are cut same as for 
plain basque. This style of Waist is very becoming 
to slender figures, and is also much used for loose 
fronted and cutaway jackets and coats. 



The Shawl Collar. 



DIA. 9. 



Continue line i to 7 inches above line 2; draw 
line A to dot 5, make dot B 2 inches from 5, and C 
3 inches from B, or width desired for collar. Make 
D 2 inches from 5; make E 2 inches from 6. Place 
point P on system at E and draw line F to D; now 
place point D on system at E and draw line G to 5; 
make H i^ to 2 inches from 6; draw line I with 
Sleeve Curve from C to H; continue line L from 28 
toH; finish line F from D to B with Neck Curve 
and the collar is complete. The space between F 
G where the lines cross each other, to D 5 is taken 
up in a Dart. From D to B is the seam across top 
of back neck; B to C is the collar seam. Trace all 
sewing lines and allow for seam. 



Ladies' Box Coat. 

DIA. 9. 

Continue line I straight down to length of skirt 
desired, as illustrated by dotted line M. French 
back for this coat. 



And practical guide to ladies' tailoring. 




PARISIAN TAIIvOR DARTI.ESS COAT, PARISIAN DARTLESS BASQUE. 
TIGHT FITTING. 



PARISIAN TAILOR COMPLETE INSTRUCTOR 



Parisian Tailor Dartless Coat, Tight 
Fitting. 

DIA. lO. 

Same as Dia. 9 with following exceptions ; 
Ilraft Ntxk, Bust, IVaist and Hip to one size larger 
ttian for basque. Draw line K the Slope and length 
desired for Lapel. Draw line M from end of line K 
to dot L. Back, Side Form and Under- Arm gore 
same as Instruction Draft. Extend skirt lines to 
lengtfl desired. 



Blazer. 

DIA. 10. 

Is cut away from 2 inches to 3 inches at waist 
as indicated by dotted line P. Finish the skirt as 
illustrated by dotted lines Q and R or any style 
desired. 



Ladies' Half Fitting Dartless Coat. 

DIA. ID. 

Trace lines i to dot L and line M to end of 
line K, continue line i to length desired for coat. 



Ladies' Double Breasted Loose Fit= 
ting Coat. 

DIA. 10. 

Is indicated by dotted line D which is drawn 
from 2% inches to 4 inches outside of line i and 
any length desired for coat. 



The Coat or Stand and Fall Collar. 

DIA. 10. 

Make dot C ^ inch below the neck and curve 
smoothly into line 9 by placing Q on system at dot 
C. Decide where you wish the lapel to turn as at 
dot 6. Come up from centre of line 9 one inch and 
and draw line D to 2^ above line 2 and make dot 
P I ^ inches to the right and draw line G from F 
to line 9. Now square on line G and draw seam 
line from dot F and make a dot i ^ inches for the 
sta?id of the collar, now dot 2 J^ or 3 inches for the 
fall of the collar and spring it % inch and draw 
line H. Draw line E sligntly curved for the crease 
in the collar. Measure from F to C and draw line 
I the same length from end of line H and draw line 



J from C to end of line I. This completes the cut- 
ting as far as the system is concerned. 



Ladies' S. B. Prince Albert Coat or 
Skirted Jacket. 

DIA. II. 

Draw all lines .same as Instruction Draft with 
following exceptions : Make A at full bust measure 
in half inch figures from 6; B is the width of back 
from A; C is >4 inch more than Under- Arm gore from 
B; D is the Under- Arm measure below A; draw line 
E the length of back measure above D, and finish 
the lines of the back same as Instruction Draft. 
Make F % inch from D; Now look on li^aist Scale 
and add the back, side form, and under-arm gore 
together and make G yi that amount from F. H is 
I inch from G; I is the same distance from H that G is 
from F; take out yi inch inside of dot 7 and leave 
a space of 3 inches; Now make the dart from i^ 
to 2>^ inches wide and make J at width from back 
dart to under-arm seam ; draw lines K, L, M, N as 
shown in Dia. This completes the single breasted 
coat. Add the lapel and collar same as Dia. 10 if 
desired. 



Ladies' D. B. Prince Albert Coat, or 
Skirted Jacket. 

DIA. 1 1 . 

Same as S. B. Prince Albert with following ex- 
ceptions as shown in Dia. 11 ; Draw line O 2>4 to 
3 inches outside of line i , take out ^ inch outside 
of dot 7 for dart and finish as per dotted lines, and 
shape the lapel to taste. Add the coat collar. The 
body part of this coat terminates at the waist line 
and the remainder is made up entirely of skirt and is 
usually cut all in one piece. A glance at the dia- 
gram will show that it has many special features 
which is better left to the taste of the cutter and if 
she wants a guide, the diagram will direct her. 



Reefers 5. B. and D. B. 

DIA. II. 

Is made same as Prince Albert coat by simply 
adding skirt lines below the waist from 8 to 12 
inche as shown in diagram. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 




LADIES' S. B. PRINCE ALBERT COAT OR SKIRTED JACKET. 



lO 



PARISIAN TAII.OR COMPLETE INSTRUCTOR 




CIRCULAR SKIRT FOR DRESS OR PRINCE ALBERT COAT. 



Circular Skirt for Dress or Prince 
Albert Coat. 

DIA. 12. 

Draw lines i and 2 at right angles; make dot 3 
% of waist measure from top of line i ; make 4 the 
length of front skirt from 3. Line 5 at right angles 
from 3; 6 is 3 inches less than % of Waist measure 
from 3; draw line 7 square from dot 6 and locate A 
at the junction of lines 7 and 2; make 8 the back 
skirt measure from 6; line 9 is from 8 to line 2; line 
10 is from A to 3; line n is square from center of 
line 10; measure from top of line i to dot 4, and 
make dot 12 that distance from end of line 9; draw 
line 13 square from 4; make 12 a pivot and sweep 
line 14 from top of line 9 to line 13; measure from 
bottom of skirt on line 11 and make dot 16 at front 
skirt measure; place D on System at 16 and draw 17 



to dot 3, turn System over and with Front Neck 
curve draw line 18 from 16 to A. This completes 
the draft. Lay line i on fold of goods. Plaits are 
added in back as indicated by dotted lines. At the 
time we write this is a very popular style of skirt 
and lends itself to many styles of drapery. When 
used as the skirt of the Prince Albert Coat or Skirt- 
ed Jacket, it is only made from 12 to 20 inches long 
below dot 3 as indicated by dotted lines 1 9 and 20, 
and waist lines of body and skirt are sewn together. 
In making, the waist seam is hidden by waist band, 
which may be made of the same material or from 
some fancy ribbon or belting. 



Umbrella Skirt. 

DIA. 12. 

Is made by dividing the pattern into three equal 
parts at bottom and waist. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



II 



"1830" Skirt. 

DIA. 12. 

Same as circular skirt with following exceptions: 
Make dot 6 at j4 the waist measure from 3. Now 
measure off 12 to 14 inches at bottom of skirt and % 
of Waist measure on Waist line and connect dots by 
straight line. Cut the pattern and use the pieces 
separately. 



Parisian Tailor Seven Gored or Com= 
bination Skirt. 

DIA. 13. 

Draw line i same as draft. Dot 2 is 6 inches 
from top of line i ; 3 is length of front skirt from top 
of line I . Draw line 4 square from dot 2 and make 
dot 5 }i of the Hip measure. Draw line 6 square 
from 3 and mark dot 7 at 12 inches from 3. Draw 
line 8 from 6 inches above dot 5 to dot 7. All the 
dots and lines from 8 to 23 are only a repetition of 
the above so that further explanation is unnecessary 
except that each gore is made 2 inches wider at the 
bottom than the preceding one. Connect all the 
lines at the top for the Waist and make dots A and 
B the length of back skirt from the Waist. Make 
C and D the length of front skirt from Waist and 
connect with slightly curved line through A, B, C, 
D to dot 3 for bottom of skirt. Add Plaits at waist 
in back as illustrated by dotted line E. In cutting 
the material lay line i on fold of goods and cut in 
one piece, or if preferred, cut each gore separately. 



The Felix Skirt. 

DIA. 13. 

Is made as follows : Cut the lining into gores 
as indicated by lines 8, 13, 18 and 23, or line E for 
Plaits on back gore. Seam them up, then cut the 
outside material in otie piece and trim it over the 
seams in the lining. Put in darts or gathers at the 
waist according to style or the wishes of the wearer 
or cutter. 



Three Gore Skirt. 

DIA. 13. 

Cut the pattern through line 8, lay the front on 
the fold of goods and use remainder of pattern for 
side-form. 



Four Gored Skirt. 

DIA. 13. 

Is easily obtained by cutting the pattern through 
lines 8 and 18 for Xhc front and side-form'' then put 
the back in plain from lyd. to any width desired. 



Five Gored Skirt. 

DIA. 13. 

Is made by cutting through lines 8 and 13 
which divides the pattern into three pieces, Front, 
Side-form and Back. 



Six Gored Skirt. 

DIA. 13. 

Cut at lines 8, 13 and 18 and put the back in 
plain any width desired. 



Seven Gored Skirt. 

DIA. 13. 

Cut on lines 8, 13, 18 and use each piece 
separately, allowing for all seams in both lining and 
material. Add any width desired for fullness at top 
and bottom of last gore in all the above styles. 

HIP RULE FOR GRADIMG. 

How to cut a skirt with 8 or 9 or any number 
of Gores: Draft same as for Seven Gored Skirt with 
following exceptions : If an 8 gored skirt is wanted, 
use 1-9 of the Hip measure and for a 9 Gored skirt 
i-io of the Hip measure, etc., ete. 



Worth Skirt. 

DIA. 14. 

Draw lines i and 2 at right angles; 3 is front 
skirt length from top of line i . 4 is ^ of Waist 
measure from top of line i . Line 5 is 6 inches from 
dot 4. 6 is 3 inches from 4. 7 is square from 6 to 
Y-i the skirt length. 8 is i inch from 6. 9 is 2»^ 
inches from 8. 10 is 2 inches from 9. Now take a 
Dart I inch wide and 3 inches deep, i J4 inches from 
top of line i . Make a dot i inch inside of dot 4 and 
draw straight line to bottom of line 7. The dart 
between 9 and 10 is 6 inches deep. Draw curved 
line from 6 inches below 6 to 8. Now measure the 



12 



PARISIAN TAII.OR COMPLETE INSTRUCTOR 




AND PRACTICAL GUIDE TO I.ADIES' TAILORING. 



13 




WORTH SKIRT. 



Spaces A, B, C, between the darts and place this 
amount at 10 and make 11 at lyi inches less than 
yi of the Waist measure. Draw line 12 square from 
3 and make 13, from 27 inches to 36 inches from 3. 
Draw 14 from ii to 13 and make 15 at back skirt 
length from 11. Put the back in plain from i yd. 
to any width desired. 



Worth Skirt, with Box Plaits. 

DIA. 14. 

Is same as above with following exception as 
shown by dotted lines D and E: — Draw line D from 
1 2 to 1 5 inches from end of line 7 , then line E square 
from end of D to the waist. The lines E and 5 are 
sewn together and the space below D is arranged 
in Box Plaits and finished with a rosette or bow of 
ribbon ar dove tail tack . Trim the seam from line 
D to the waist. In drafting this pattern the darts 
and spaces from 6 to 1 1 must be put in beyond line 



E at the waist and the length of line D added to 
line 12. The back is a straight piece any width de- 
sired, or the Shawl back or Godet Plaits used if 
preferred. 



S. B. Tight=fitting Ulster. 

DIA. 14. 

Draw all lines for the front same as Instruction 
Draft with following exception: — Make the darts 
I yi inches wide and closed about 6 inches below the 
waist. Take out i inch between the front and 
under-arm gore and closed about 5 inches below the 
waist. The back and side form is drafted the same 
as Instruction Draft. Remember to add i size to 
Neck, Bust, Waist and Hip, in drafting outside gar- 
ments. Extend skirt lines the full dress length. 
Add plaits from 2 to 4 Inches wide in back below 
the waist. See diagram. 



14 



PARISIAN TAILOR COMPLETE INSTRUCTOR 



D. B. Ulster, Tight Fitting. 

DIA. 15. 

Same as S. B. Ulster with following exception: 
as shown in the diagram. Take out i inch in a 
dart in center of front and draw a new line from 2 
to 4 inches outside of line, one for the lap and shape 
the lapel to taste. Add the coat collar as on Dia- 
gram. 



D. B. Ulster with Crossover Front. 

DIA. 15. 

The only variation is illustrated by curvtd and 
dotted lines E. 



Ladies' Dolman. 

DIA. 16. 

Same as Instruction Draft with following except- 
ion, as shown in diagram: — Make the dart 2^ inches 
from the front and 2 inches wide, closed 6 inches 
below the waist. Draft the Back, Side Form and 
Under Arm gore same as for plain basque, or make 
them a uniform width if desired. Place the Under 
Arm gore 2^ inches from the front on a line with 
the waist letting skirt lines form a dart 5)4 inches 
below the waist. Continue line 17 the full skirt 
length. This completes the front. Continue skirt 
lines of Back and Side Form the back skirt length. 
Continue line 24 of the back to Shoulder point. 
Now Cut away the Fro7it, Under Arm Gore, and 
Side Form as shown in the Diagram. This Com- 
pletes the i5(?(/}' part. The Wing is shown on Dia. 42 
by tracing the shoulder and neck of front and dotted 
lines J. I. H. E. D and C. The shoulder and neck 
are sewn to the back and side body at the same time 
as the forepart, and in like manner the side seam is 
sewn to the back with the side body. 



High Shoulder Cape, Loose Fitting. 

DIA. 17. 

Take all the measures same as for a plain 
basque except the bnst measure which is taken 
about 4 inches below the shoulder outside of the 
arms. Draft lines same as for plain basque with 
following exceptions : Make dot A the full bust 
measure in half-inch figures. B is the under-arm 
measure below A; P is the width of back from A ; 



D is from C to 12 or end of shoulder; E is 3 inches 
above 16; make a dot 2^ inches above C and draw 
line F; G is from 5 to 7 inches above centre of line 
F; draw lines H and I with sleeve curve trom G to 
lines E and D, line J is trom 7 to B. Lay line A 
on fold of goods. 



High Shoulder Cape, Tight Fitting 
with Dart. 

DIA. 17. 

Same as above with exception as shown by 
dotted lines inside of dot 7. 

High Shoulder Cape with Yoke. 

DIA. 17. 

The variations are illustrated by dotted lines 
K, L, M, N, O. Lines K and L are made the 
width desired for Cape and cut to lines E and D, 
and gathered to the yoke. 



Military Cape. 

DIA. 18. 

Draw lines i and 2 at right angles; 3 is the 
length of cape desired from line 2; 4 is \ the neck 
measure from 3; 5 is y'l the neck measure from 4; 
line 6 is square from 5; dot 7 is ^ the neck 
measure above 5; line 8 is from 4 through dot 7; 
make 4 a pivot and sweep line 9 from 3 to line 8 for 
the neck, now sweep line 10 from line 2 to line 8 
using 4 as a pivot. Line 11 is i inch longer over 
the shoulder than at the front or back, find a new 
pivot and sweep line 12 as indicated by dotted line. 



Ladies' Circular. 

DIA. 18. 

Is identical with the above but is usually cut 
about three quarter length . 



Ladies' Short Wrap. 

DIA. 18. 

Same as Circular but is only made from 1 2 to 
18 inches in length. The Storm collar is generally 
used on this class of garments. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



15 




D. B. ULSTER, TIGHT FITTING. 



i6 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




LADIES' DOIvMAN. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



17 




MILITARY CAPE. 



i8 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




POINTED COI.LAR. 



Pointed Collar. 

DIA. 19. 

Is made same as Instruction Draft of plain 
choker collar by extending tlie width from 3 to 4 
ieches at the ends and centre of collar and pointing 
with sleeve curve as shown by lines 14 and 15. 

Ladies' Blouse. 

DIA. 20. 

Is made same as Instruction Draft, with fol- 
lowing exceptions : — Make dot A the full Bust Mea- 
swre in half-inch figures from dot 6; B is the under- 
arm measure, below A; Line C is the length of back 
above B; D is the width of back from A; E is lyi 
inches above D. Draw line F from shoulder point, 
through E to bust litie with Arms Eye Curve. Line 
G is from dot 6 to B for Waist Line. Extend lines 
I and Cfrom 4 to 7 inches below the waist, as shown 
by dotted lines. A drawing string is run through 
the bottom and tied at waist. 



Shirt Waist. 



DIA. 20. 



Is made by taking out 3 inches at waist as 
shown by dotted lines, from waist to Arms Eye. 
Cut the yoke square or pointed in the back as de- 
sired. 



Ladies' Newmarket. S. B. 



DIA. 21. 



Draft same as for Plain Basque. Come down 
3 to 3^ inches on Front and Side Form and from 
i to 2}4 inches on other Seams, taking care to ad- 



just all the seams to agree with those to whicli tiicy 
are intended to join, making all the parts slightly 
curved as shown by lines A. B. C. D. E. The back 
is continued to the full lenghth, about i inch being 
left on either side, as illustrated on Diagram, for the 
formation of side plaits and opening in the back. 



D. B. Newmarket. 

DIA. 21. 

Is illustrated by dotted Curved line in Front. 



Newmarket Skirt. 

DIA. 22. 

Draw lines 1 and 2 at right Angles; 3 is 7 
inches from top of line i always; 4 is i inch from 
top of line i ; 5 is J^ the Hip measure from line i ; 
6 is I inch from 5: line 7 is straight from 5; 8 is 7 
inches below 5; line 9 is from 6 through 8; line 10 
is from 4 through 3. Now measure the depth of 
the /J(7^' />ar/ below Waist line, at back, sides and 
front, and whatever that is, come down from 4 and 
6 to find the run of the waist seam of the skirt; Now 
measure the width of the side form at the bottom 
and make A to B of skirt the same; take out i ^ 
inches in a dart between B and P. Make P to D 
the same width as line D of Under Arm Gore; Now 
measure lines A B and C of the forepart and make 
E to F what it measures. The distance from F to 
D is taken out in a dart. Make the darts 4^^ inches 
deep; measure off lenghth of skirt desired and con- 
nect with line G, slightly curved; add ^ inch of 
round at H, when the skirt will only need plain 
sewing to the body part. From these principles you 
will be able te form any of the various styles which 
have, or may become popular. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



19 




LADIES' Bt,OUSE. 



Square Sailor Collar. 

DIA. 23. 

This collar is made by the shoulder seams of 
back and forepart placed together as shown in Dia- 
gram. Measure from the neck of front and back 
for the length desired. 



Round Sailor Collar. 

DIA. 23. 

Draw line B across neck gorge ; A is the cen- 
ter of B; lineC is square from A; Come up to line 
with center of back and make dot 2 which use as a 
pivot and sweep line D from back to front the depth 
desired for Collar. 



Measure the same depth on back an front and cond- 
nect by lines I and J. 



French Opera Cape. 

DIA, 23. 

Use dot 2 as a pivot and sweep to length desired 
for Cape as illustrated by dotted lines K and L- 



Pointed Sailor Collar. 

DIA. 23. 

Make dot H the depth for Collar from the neck; 



Golphs or Coachman's Cape. 

DIA. 23. 

At the time we write, this is a very popular 
style of Cape and which is easily obtained by cut- 
ting through line G of square Sailor Collar, Now 
place the shoulder points together, leaving a dart 
3);( to 4 inches at the neck and by applying the 
same principales a? for the Round Sailor Collar, you 
can easily solve the problem. 



20 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




D. B. NEWMARKET. 



NEWMARKET SKIRT. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 21 




SaUAKE SAILOR COLLAR. 



Yoked Cape. 

DIA. 24. 

Draw lines i and 2 same as Diagram. Place 
the back and/ronl so that shoulder points touch as 
at A; Curve line B across the dart; C and D is the 
bottom of neck, front and back; F is the length of 
Cape desired from C; Measure the distance from 
Top of line i to C and make E that distance above 
D; Use E as a pivot and sweep line G from F to 
line I. Cut from D to C and sew to a round yoke, 
which is made same as Round Sailor Collar only 
about 4^ inches deep. 



Jelly- Bag Hood. 

DIA. 25. 

These adjuncts to over- garments are very pop- 
ular for both ladies and gentlemen and as so few 
people really understand how to cut and make them, 
we place before our readers the method of cutting 
and making the leading styles that are now being 
worn. The same principles will enable anyone to 
reproduce any other style which may come out. 
Take the back and front of A plain basque. Place 
the back on fold of goods, with the front at right 
angle so that shoulder points touch each other. A 
to B is 2 inches ; C to D is 14 inches ; D to G is 13 
inches ; line A is from B to G ; Curve line J to G 
and B about 6 inches above G and i inch inside of 



I ; Curve line K to G and D from i inch above E; 
Dotted line L is the crease. The bottom part from 
D to G is sewn to the corresponding part; sew up the 
shoulder seams, either to a band with holes to fasten 
to buttons placed round the neck, or it may be sewn 
in with the collar seam. The former plan is gen- 
erally adopted, as it allows for the Hood being de- 
tached if desired. 



The Cape Hood. 

DIA. 26. 

This is produced the same as the Jelly-Bag 
Hood with the exception that the dart at the 
shoulder is 7 inches deep; E is 16 inches below D ; 
F is 4 inches above E ; G is 3 inches from E ; H is 
12 inches from E. The bottom part at F. G, I 
being rounded so as to give it a circular appearance 
at the bottom. The points F, G are sewn together 
and the bottom part from G to H is sewn to the cor- 
responding part of the other half. Place the back 
on fold of goods in cutting. 



Ladies' Vest. 

DIA. 27. 

Take measures and draw lines same as for plain 
basque with the following exceptions, as shown in 
Diagram : — A is the Bust measure in half-inch fig- 



22 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




AND PRACTICAL GUIDE TO LADIES' TAILORING. 



23 




LADIES' VEST. 



ures from dot 6: B is the Under Arm measure be- 
low A ; line A is the length of back above B, take 
out 2 inches inside of B and complete the outline of 
the back as shown. F is the width of back from 
line 18; G is lyi inche6 above F; add the widtli of 
back, Side Form and Under Arm Gore together and 
made A that width from D ; Make dot in center of 
Arms Eye and draw the Under Arm seam to H. 
The bottom part of the back is cut separately; this 
is done to provide sufficient spring over hips ; i inch 
is taken out below the waist line and the sides sprang 
out as shown in Diagram and is cut about 2 inches 
wide. The front is made about 2,% inches below 
the waist and 2 inches at the sides. These can be 
made Single or Double brested as illustrated in Dia- 
gram. 



Parisian Tailor Senmless Waist. 

DIA. 28. 

The writer has the proud distinction of Origi- 



nating this Novel and beautifully fitting garment on 
June 10. iSpo and after introducing it in many of 
the large Cities of the West and South, we intro- 
duced it in Philadelphia, in October, 1891, as the 
files of the " Public Ledger," "Philadelphia Press " 
and other Daily papers will prove, and will pay $100. 
in Gold for a single advertisement of the Seamless 
Waist in any newspaper, either in New York or 
Philadelphia prior to the above date. 



Principles of Drafting. 

Draw lines to dot 14 same as Instruction Draft 
with following exceptions viz.: — 4 is the neck meas- 
ure in neck figures, from top of line i : 5 is i >4 inches 
from 4 ; Get " Base of Scye " and " Long front " 
from 5: complete the outline of the front from 16, 19. 
14 is I inch more than " Bust measure in half-inch 
figures" from 6. Make A and B the same as 20 
and 21 on Instruction Draft. Make C yj. the dis- 
tance from B to A. Draw line D % inch above 14 



24 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




AND PRACTICAL GUIDE TO LADIES' TAILORING. 



25 



from A. Draw line E yi inch from top of line D. 
Draw line F from end of line E through dot C; this 
is the dividing line; now draw a short straight line 
below the draft and make dot 2 the width of back at 
Shoulders. Make dot 3 the width of back and side- 
form at Waist, measure from 3 to 2 and place this 
amount on the Short-Arm of the scale on line F and 
the Under-Arm measure on the Lottg-Arm of the 
Scale at the junction of lines F and 23 and without 
moving the system, draw lines G and H. I is the 
" width of back " at shoulders On line H; J is 
square from end of line G. K is " width of back" 
on line J; line L is the " length of back " above I 
and through K; complete the outline of the back and 
draw back Arms Eye from 1 2 to line 1 3 . touching 
end of line E. M is ^ inch below I; N is the " Un- 
der-Arm Measure " below 16. Place IS. on Sjsetm 
at N and draw line O to M. Now place O on Sys- 
tem at N and draw line P to dot 7 or " long-front," 
this gives the run of the Waist. Now measure with 
tape line and make Q yi the ' ' Waist Measure ' ' from 
M. R is 3 inches below 6. Place point L on sys- 
tem at R and draw line S through Q. Point the 
front and back as indicated by dotted lines. Apply 
the " Balance Measure " and the draft is complete. 
The proper make-up of this garment is very impor- 
tant and if you would crown your efforts with suc- 
cess, follow these instructions to the letter. Cut out 
the pattern and place line L on the/old of the lining 
and pin it firmly ; Now trace the Shoulder Seams, 
Front and Waist lines. Cut out the lining allowing 
^ inch seam on shoulders and cut clean at Arms-Eye 
and Neck. Allow about 2>^ inches in front for Hem. 
Cut I inch below the waist, except at points and 
slash to the waist for facing. Now bone the lining, 
putting them about i J^ inches apart at the waist and 
dividing the space evenly at the top. The bones 
should be a inches shorter than the Under-Arm mea- 
sure and sprung about J^ of an inch in sewing on. 
The outside of the lining should be covered with a 
thin layer of sheet wadding to prevent the bones 
from showing through when thin material is used. 
Stay the Arms-Eye with a piece of tape and full the 
lining yi inch from 2 j4 inches below the shoulder to 
dot 17. Stay the front from Neck to waist with 
tape and full the lining }^ inch to i inch over the 



fullest part of the bust from 2}^ inches above dot 6 
to 3 inches below. Now fold the lining and lay the 
back on fold of goods and Cut it out. Now lay the 
cutout material on the table wrong side up and 
smooth it out sharp and pin it fast. Place the lin- 
ing on the material and after basting it, remove the 
tape from Arms- Eye and front and run a strong 
thread down front and around Arms-Eye to keep 
the fullness in place. Now try on the waist and fin- 
ish in any style desired. This waist lends itself to 
many .styles of ornamentation and furnishes unlimi- 
ted scope for the designer. 



Seamless Eton Jacket. 

DIA. 29. 

Draft sames as Diagram 28. Add the Lapel 
and Collar, same as Diagram 16 and shape the bot- 
tom square, pointed or round as indicated by dotted 
line A. 



Seamless Zouave Jacket. 

DIA. 29. 

Is illustrated by the dotted line about 2^ inches 
above line O, P, A. Shawl Collar can be added, if 
preferred, as on Diagram 9. 

Pointed Qirdle. 

DIA. 29. 

Is illustrated by U, V, W, and dotted point in 
front. The girdle can be cut round or any shape 
and width desired. 



Spanish Belt. 

DIA. 29. 

This is a beautiful style of ornamentation and is 
cleariy illustrated by dotted lines N, W, X, Y, mak- 
ing it about I inch wide at U and the same in front. 

Any garment can be cut without shoulder seams 
by cutting the back shoulder higher and overlap- 
ping the front and finished as a lapel , or outline a 
Zouave Jacket by sewing it to the Arms- Eye seam 
with the front. 



26 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




SQUARE RIPP1.E COLLAR. 



Square Ripple Collar. 

DIA. 30. 

Draw lines A and B at right angles from 1 2 to 
20 inches and complete square by lines C and D ; 
line Eisthecenter line of Band D. F is the center of E; 
dot 1-6 oi the neck measure each side of F; make F 
a pivot and sweep line G which will" give the com- 
plete neck measure; draw line H as indicated. Now 
cut through line A and line G for the neck. This 
collar closes at the neck in front and opens on line H 
and falls pointed front and back and on the shoulders. 



Round Ripple Collar. 

DIA. 30. 

Draft sam« as above. Use F as a pivot and 
sweep the circle as indicated by dotted line I; finish 
same as square collar . If it is to be worn with a lapel , 



draw line J and K as indicated by dotted lines which 
gives half the collar. His the seam in the back. 
The double Circular Rijiple is made bj' dotting 1-12 
of the neck measure each side of F for the neck and 
complete the outline as indicated above. 



Plain Princess with Bell Back. 

DIA. 31 and 32- 

The front is illustrated by Diagram 31. Diaft 
the pattern same as for plain basque, with fullowing 
exceptions: — Make the front dart lyi inches and 
the back dart 2 inches wide and closed 6 inches be- 
low the waist. Place the Under- Arm gore about 2% 
inches from the front at waist. See that the skirt 
lines below 8 and 31 are the same length, letting 
them touch at bottom. Make C from 27 to 30 inches 
from A ; continue line 17 the length of back skirt 
and draw line B. Cut out allowing seams all round 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



27 




PIvAIN PRINCESS WITH BELL BACK. 



28 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




PRINCESS CORSAGE. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



29 




SliAMl^KSS taHUUi^UKK BAbl^Uii. 



Back of Princess. 

DIA- 32. 

See that skirt lines of back and side-form are 
the same length below the waist letting them touch 
at bottom, allowing about i^^ inches at K, L for 
seams. A is 10 inches above the waist; B is 2 inches 
below waist: C is a continuation of the waist line of 
back; D is 10 inches from the waist, or dot 14; draw 
line E from A through D; continue line 36, the 
length of back skirt; make dot F the length of back 
skirt below 14; draw line G from end of line 36, 
through F; Use A as a pivot and sweep line H from 
F to line E; Now sweep line I from B to line E, 



which completes the draft. Cut out, allowing seams 
all round. The space on line I is plaited in the back 
Lay the pattern so that the waist line in front of the 
Side-form runs with the grain or thread of the lin- 
ing in cutting out. 



Princess Corsage. 

Front, dia. 32. 

Is clearly illustrated by D, E, F, G, H. 
D 5 to 6 inches above the waist; E, F, is 
higher than D. Cut through lines G, H. 



Make 
I inch 



30 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




FRENCH BIAS BASQUE WITH STKAIGHT FRONT. 



Back of Corsage. 

DIA. 32. 

Make J the same distance above 17 that D is 
above 6 in front draft; K, L, are i inches higher 
than J ; M is 2 to 3 inches above L- Cut through 
lines N, O. Polonaise, Wrappers and Tea Gowns 
are all made from the same draft. A Polonaise is 
about 2 inches shorter than the Princess. For Wrap- 



pers and Tea Gowns add plaits in the front, leave 
the darts open, or if desired, take up the back dart. 
Adtl straight plaits in center of back. 



5eam'ess Shoulder Basque. 

DIA. 33. 

Draft the French back. The Under-Arm gore 
is drafted with the front. Cut out the pattern and 
lay the shoulder seams together. This will give a 
seam in the center of back and under the arms. 



French Bias Basque with Stright 
Front. 

DIA. 34. 

Draw all the lines to 18, same as Instruction 
Draft. Continue line 8 straight down from dot 6, 
MOW measure fur the ' " long front ' ' and make dot 7 
<ni line 8. Draw the waist line square from 7. 
Make the front dart i ^ inches from 7 ; make the 
l)ack dart 3^ to 4 inches wide and finish same as 
Instruction Draft. Make the darts 3 inches apart 
at top and curved line A same as Diagram 9 The 
rest of the pattern is the same as plain basque. 
Trace line 7 for front edge. 



Basque with Seamless Front. 

DIA. 34. 

Lay line 8 on fold of goods and open on shoulder 
and under the arm. This waist front can be used 
instead of the plain front for any style of garment 
and furnishes ample scope for the designer. 



Worth Princess. 

DIA. 34 to 36. 

The Front. Diagram j^. — Close the front dart 
6 inches below the waist as indicated by dotted line. 
Continue line 8, the length o) front skirt below dot 7. 
B is2j^ inches below the waist: Cis i inch below 
the waist on line 44; E is ^ inch inside of D; C is 
from B to E; continue line 44 straight down from 
the waist and make F 6 inches below the waist; G 
is yi inch inside of F; draw line H from E through 
G the length of front skirt; Trace the back dart to B 
and line D to E and down line H to length of skirt; 
trace line 44 to F; cut out and allow seams; divide 
the space between F, G, C, E and allow seam above 
D. Before cutting out, measure line 45 and make it 
the same width as line D and add the amount taken 
ofiF to some of the other pieces. In basting the 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



31 




BACK Of WOKiH FKlNCKsb. 



seams, E touches 31 and line H runs with lines 58, 
and 31 of Under-Arm gore. Lay line 8 on fold of 
goods and opeu on shoulder and under the arm. 



Back of Worth Princess. 

DIA. 35. 

Draft Seamless Back as previously described in 
the section treating of backs. A is 2^ inches below 
the waist; line B is square from A; D 5 inches from 
C; E is the length of back skirt, below the waist; F 
is square from E; line H is from G to i^ inches 



above D; I is from C to end of line H, J is 10 inches 
above the waist; Use J as a pivot and sweep line K 
from line F to line H which gives the bottom of 
skirt. Lay the back on fold of goods. 



Side=Form of Worth Princess. 

DIA. 36. 

Place the Side-Form and Under-Arm gore as 
indicated in the Diagram. See that lines 17 and 36 
are the same length below the waist, letting them 
touch at bottom and leaving a space of 2 inches at 
the waist. A is the length of front skirt below the 
waist; E is 3 inches out and i inch above D; line F 
from D to E; draw line G from E to C; Measure line 
H in back draft between lines C and I and make 
H that distance below E, draw line I from H to B 
for the bottom of skirt; line F on the Side- Form and 
line I in the back, form the plaits. 



Ladies' Yoked Circular or Organ 
Pipe Cape. 

DIA. 37. 

Is drafted same as Diagram 24, with the excep- 
tion that the shoulder seams are 7 inches long and 
touch as at H. Connect the gorge as indicated by 
curved line M; finish same as Diagarm. 24. 



Spanish Choker Collar. 

DIA. 38. 

Draw lines A and B at right angles. C is 3 
inches from top of line A; D is 2 inches from line A; 
E is J^ the neck measure from D, line F with Side- 
Form curve; line G square from E; H is 2 inches 
from E; place point T on system at C and draw line 
I to H; line J is the front of collar and is cut on fold 
of goods. 



Parisian Tailor Riding Train. 

Forepart, dia. 39. 
Draw lines i and 2 at right angles. 3 is J^" of 
skirt length from top of line i , 4 is the skirt length; 

5 is square from 3; 6 is ^ Hip mearure from 3; 7 is 
yi the distance from 3 to 6 beyond 6; 8 is the same 
distance from 7, that 7 is from 6; 9 is }{ of skirt 
length from 8; 10 is >^ of knee measure from 9; u is 
I inch above 9; 12 is from 8 through 11; 13 is from 

6 to line 2; 14 is 1% inches from top of line 13; 15 
is I >^ inches more than J4 of waist measure from 
top of line 13; 16 is from 8 to 14; square on line 16 
and draw line 17 from 14; 18 is ^ inch more than 



32 



PARISIAN TAILOR COMPLETE INSTRUCTOR 



^ of waist measure from 14, drawn line 19 with 
Hip curve, point I at 14; line 20 with Side-Form 
curve, point T at 14; line 21 with Hip curve, point W 
at 15; make a dart 3 inches from 15 about i inch 
wide and 4 inches deep. (This is often used for the 
opening.) Now use 11 as a pivot and sweep line 22 
from 10; 23 is 7 inches from 10. Make the darts 2 
inches apart, the first dart at A, 2 inches above 10, 
so that they will come just over the knee; make the 




SIDE-FORM OF WORTH PRINCESS. 



darts lyi inches wide and 5 inches long; 24 is 16 
inches below 10; 25 is i inch from 24; 26 is slightly 
curved from 10 through 25; then straight to bot- 
tom; 27 is the same distance below 10, that 4 is be- 
low 3; 28 is I inch above 27; 29 is from 4 to 27; 30 
is 10 inches from 27 and li^ inches above line 29; 31 
is curved from 28 through 30 to 4. This completes 
the top side. 



The Under Part. 

DIA. 39. 

Is drafted as shown by dotted lines from 32 to 
45. Use 4 as a pivot and sweep line 32 from top of 
line I, 33 is 4 inches from top of line i; 34 is 10 
inches above 4; 35 is curved lA inches outside of 3 
to 34 and sprung i inch outside of 4 at the bottom; 
use A as a pivot and sweep from 18 and make 36 
4 inches from 18; line 37 straight from 36 to 
33; 38 is the waist measure from 33; 39 is 1-5 the 
waist measure from 36. Now measure from 38 to 36 
and you have the amount for darts; 40 is \ the 
amount for darts from 39; 41 is 1-5 of waist measure 
from 33; 42 is the remaining dart from 41; dots 39, 
40, 41 and 42 are i inch above line 37. The darts 
should be 7 inches deep and the same position as 
shown in Diagram; 43 is i^ inches from 23 always; 
44 is 6A inches from 43. Make the dart 3 inches 
wide and take out the surplus in A V upwards 
above 44 as shown by dotted lines, 45 is from 36 to 
43; point J on system at 43. Complete the outlines 
of the under part by the top side and the draft is 
complete. 



The Measures. 

Required are length of Skirt, IVaist, Hip, and 
Hip and Knee measure with the right leg raised as 
in the act of riding, and tight knee measure. It is 
generally acknowledged that the majority of cutters 
produce their Riding Trains from block patterns, but 
there are times in the cutters' experience when 
such patterns would be not only inappropriate, but 
almost certain to lead to failure. The Train which 
we now present to our readers for the first time is 
based on sound principles, and will we feel sure, be 
equal to and sufficient for any and all cases, as the 
Invcntot has only arrived at this conclusion after 
years of study and extended experiments in its de- 
velopment. 



The Material. 

Mostly used is a heavy Melton, more generally 
black, but not always so, browns, greens, plum col- 
ors, & etc., all being largely used. Occasionally 
we see one of the grey worsted, or drab tweed, but 
these are exceptions, for therecan be no doubt. Mel- 
ton is regarded as the Habit Cloth, The quantity of 
material required for a Habit Bodice is about li yards, 
the Train taking 2^ to 3 yards of 56 inch material. 
In cutting it from the cloth, special care must be 
used not to cut it inside out, an error many beginners 
make. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



33 




IvADlKS' YUKKD CIRCULAR OR ORGAN tlfli CAVE. 




SPANISH CHOCKER COLLAR. 



34 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




PARISIAN TAILOR RIDING TRAIN. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



35 




RIDING TROUSERS. 



36 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




TWO DARTED SHOULDER CAPE. 



Riding Trousers. 

DIAG. 40. 

Draw lines O and 2 at right angles; 3 is ^ of 
Hip measure from O; 4 is ^ of Hip measure from O; 
5 is midway between O and 4; 6 is length from waist 
to chair above 5; 7 is i}4 inches below 6; square on 
6, 7 and make 9 3 inches more than ^ of the waist 
measure from 6; 10 is from 5 to 6. Place point R on 
sytem at 4 and curve smoothly into line 10. Place 
point M on system at 9 and draw 11 to 3; 1 2 is length 
from seat to knee from O; 13 is length of leg from O; 
14 and 15 are each j4 of knee measure from 12; 16 
and 17 are each yi of bottom width from 13. The 
usual width for trousers being 16 knee, 15 bottom; 
18 is from 4 to 15 point Y on system at 4; 19 is from 3 
to 14 curved as shown; 20 is straight from 15 to 16; 
21 is from 14 to 17; 22 is one inch more from 5 than 
5 is from O. Now reduce line 8 to )4 the waist, by 
inserting darts as shown. Curve the bottom from 
13 to I inch below 17 and 17 as in Diagram and the 
upper part is complete. 



The Under Part. 

DIA. 40. 

Is illustrated by dotted lines from 23 to 28. 
Place point C on system at 4, crossing 22 and draw 
line 23; 24 is the same distance from 22 that 6 is 
from 4; 25 is sqare from 2; 26 is 4 inches more than 
J^ ot waist measure from 24; 27 is slightly curved 
above 14 the straight to 26; A is i inch below 26, 
which gives the run of the waist. Reduce line 25 
to }i the waist by taking 2 darts as illustrated. 28 
is I inch below 13, shape the bottom as illustrated 
by dotted lines and the Under- Part is complete. 



Hints on Making. 

Bear in mind the position the lady occupies 
when in the saddle, as that is the only position in 
which they should be worn, hence it will be necessary 
to manipulate the sides differently. The top sides 
should be fulled on at the knee, quite i inch for the 
leg that goes over the pommel (Usually the right 
leg,") and the under side fulled on a like amount 
at the seat. A portion of the seat and legs are lined 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



37 




WING OF RUSSIAN CIRCULAR CLOAK. 



38 



PARISIAN TAILOR COMPLETB INSTRUCTOR 



with chamois, if made from cloth. The are gener- 
ally finished with fly fronts, the ily extending to the 
leg seam. Eyelets are placed at the back so as to 
adjust them to the exact size of waist. The darts 
at the waist must all be neatly finished, either by 
covering with galoon or some other similar method. 
The waist bands are 7iever put to the trousers. The 
material from which these are mostly made are 
stockinnette and elastic cloth. 



The Measures. 

First, measure from the waist to the full length 
of side desired. To get the length of leg, there are 
three very good ways, but the one most generally 
practiced is to ask the lady to sit down on a chair 
and then measure the distance from the waist to the 
chair, this gives the length of the body. Now de- 
duct this amount from the side length and the accu- 
rate length of leg will be the result, the remaining 
measures are wasit, seat, size of knee and bottoms. 
Make the knee i6 and the bottoms 15 inches, in- 
creasing I inch in size for every 2 inches of bust 
measure, over 40. 

Two Darted Shoulder Cape. 

DIA, 41. 

Draw lines i and 2 at right angles ; 3 is J^ of 
bust measure; 4 is i inch from 3; 5 is 1-8 of Neck 
measure from 3 ; 6 is 1-9 of Neck measure from 5; 
7 is i-ii of Bust Measure from 6; 8 is i-8 of Neck 
measure below line 2; 9 is square from 8; 10 is % 
of neck measure from 8; 11 is the shoulder measure 
below 4; 12 from 10 to 11; 13 same length as 12 
through 3: 14 is center between 6 and 7; 15 is 
shoulder measure below 14; 16 is form 15 to 6; 17 
same length as 16 through 5, 18 same as Diagram; 
19 length of back measure below 8; 20 is under- 
arm measure above 19; 21 is square from 20; 22 is 
bust measure from 20 in ^ inch figures; 23 is square 
from 19; 24 is square from 7 to line 23; 23 is 1-8 of 
neck measure below 7; 26 point U on system at 6 to 
25; 27 is from 25 crossing 22; 28 is i inch less than 
length of back from 25; 29 is 5 inches from end of 
line 24; find & pivot at 6 and sweep line 30 from 29 
to 28. Lines 12, 13, 16, 17 are sewn together. 
Fur Capes are usually cut from this style of pattern. 
Increase to any length desired by extending Hue 27 
and length below 19. The measures required are 
Neck, Length of back. Under- Arm and Bust which 
must be taken over the Arms. 



Wing of Russian Circular Cloak. 

DIA. 42. 

Draw all lines same as for High Shoulder Cape 
Diagram 17. 14 is i inch inside of 7 for back seam; 
15 is 2 inches from 14, for width of back; draw cur- 
ved line from 1 2 at shoulder to 1 5 and straight down 
to length of skirt. Add 2 inches outside of 14 for 
pleats as shown. This completes the back. 16 i^ 
I inch inside of 15; curved line D as shown from the 
bust, connect line C i inch inside of 12 to the bust. 
Draw line F the length of skirt below 7; draw 
straight line from 16, crossing 6 inches below 15 to 
the length of skirt, connect the lines at bottom and 
the Wing is complete. The Body part is the sanje 
as for Dolman, Diagram 16. The wing is sewn ^o 
the back with the Side-form and the shoulder and 
neck are sewn to the back and collar at the same 
time as the fore-part. Distribute the fullness on line 
C the same as for a sleeve. Tabs should be placed 
about 15 inches from the bottom to secure the wing 
to the fore-part or otherwise in boisterous weather, 
these have a very "flyaway" tendency. As we 
have previously stated, the under or body part is the 
same as the Ulster or Dolman, (Diagram 16,) either 
with sleeves or with the arm hole cut away as illus- 
trated, but sometimes a strip is cut off the fore-parf 
as from 5 to K (Diagram 42.) and this is secured to, 
the wing, an opening left for the hands to com^ 
through, but this is only one of the variation^ 
of style that may be introduced. The dotted; 
lines J, I and H shows another style which has foun4 
much favor, especially with ladies who objected to 
the weight of the Russian Cloak, whilst it also has ^ 
fanciful appearance which readily lends itself to va- 
rious styles of ornamentation: 



Wing of Dolman. 

DIA. 4]. 

Is clearly illustrated by dotted lines J, I and H 
sames as described for Russian Cloak. 



Columbian Collar. 

DIA. 43, 44 and 45. 
The collar represented by 43 and 44 is cut in 6 
sections. 43 is the /rout and back section and 44 
the middle section and are drafted as follows: — Dia- 
gram 43. Draw lines i and 2: 3 is 3^ of neck mea- 
sure from top of line i ; 4 is 3 to 4 inches from top of 
line I for stand of collar; 5 is 6 inches from 4; 6 
square from 5; 7 is 1-6 of bust measure (over the 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



39 



arms,) from 5. Draw line square from 4; 8 is 1% 
inches from 4. 10 is 1-6 of neck measure from 8. 
Draw lines 11, 12, 13 and 14 with Sleeve curve. 
Round the bottom with line 15. 




COLUMBIAN COLLAR. 



niddle Section. 

DIA. 44. 

Draft same as 43 with the following exceptions: 
4 is I inch down, 5 is depth of stand from 4, 9 is 
from 3 to 8, 10 is the stand from 3, 11 from 10 to 5, 
la is lyi inches from 10, 13 is 1-6 of neck measure 
from 12, complete the outline by remaining numbers, 
same as 43. Lines 11 and 12, Diagram 43, and 15 
and 16, Diagram 44, sew together. 




Columbian Collar in Pour Sections. 

DIA. 45. 

Draw all lines same as Dirgram 44, with the 
following exceptions: 3 is J^ the neck measure from 
top of line i , 10 is ^ of the bust measure (over the 
arm,) from 5, 13 is 1% inches from 4, 14 is % the 
neck measure from 13. Complete the outline by 15 
16, 17, 18 and 19. The seam is represented by 15 
and 16, 



MIDDLE SECTION. 




COLUMBIAN COLLAR IN FOUR SECTIONS. 



Dartless Princess. 

DIA. 46. 

Draft Dartless Front and remaining pieces same 
as plain basque. Place Under-Arm Gore so that 
skirt lines touch about 6 inches below the waist with 
I inch space at A. Continue the front and line 17 
to length of skirt. The back is the same as plain 
Princess. 



Dartless Draped Princess. 

DIA. 46. 

Is illustrated by B, C and D. B is 5 inches be- 
low the waist; C is 5 to 7 inches from B, curve line 
D from the waist through C, as illustrated. The 
Under-Arm gore is cut seperately and the space on 



4° 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




DARTLESS PRINCESS. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



41 



line D from the waist to C is pleated on line 1 3 for 
draping. When draping is desired on one side only 
that side is cut basque shape as illustrated by dotted 
line E and the skirt draped up over the basque. 
This is only one of the variations of style which can 
be introduced, but which will suggest themselves to 
the cutter. 



Riding=Habit Bodice. 

DIA. 47. 

It is a plain tight-fitting Bodice, the back and 
side-form extending to about 8 or 10 inches below 
the waist. The remaining parts cut sharp over the 
hips. About 3 inches below the waist at the sides 
and 4 inches in front carefully adjusting all the seams. 
In iheNew Style of Riding Habit the skirt is exten- 
ded to 9 or 10 inches below the waist all around 
with the front slightly rounded at the bottom. The 
stand collar is used as shown in Diagram. 



Seamless Princess. 

DIA. 48. 

Is so called because the front is on the fold of 
goods and the body and skirt cut in one piece. 
Draft French Bias Basque making front dart i J^ and 
the back 1 inches wide closed 6 inches below the 
waist. Adjusting skirt lines below the waist, let- 
ling them touch at bottom, 6 inches below the waist, 
allowing a space of 2>^ inches at the waist as illus- 
trated. Measure down length of skirt from waist of 
front and back and finish the back same as plain 
Princess. In cutting the material, lay the front on 
fold and open on the shoulder and under the arm. 
This pattern can be used for wrappers, tea gowns, 
etc. and furnishes wide scope for the designer. 



Bishop Sleeves. 

DIA. 49. 

Draft plain sleeve and trace out the under part. 
Pin the upper part down on the paper and continue 
line 17 from 15 to 30 inches and place the elbow line 
of under part, the distance desired for width of 
sleeve. Draw line A as illustrated; B is the center 
of A. Use B as a pivot and sweep the top as shown 
by dotted line C, E and D are each 4 inches below 
the elbow, make the sleeve 2 inches deeper in center 
and connect with lines F and G. 



Shirt Sleeve. 

DIA. 49. 

Is clearly illustrated by dotted lines H, I and J 
H and I are the length of inside seam. Line J 
sewn to a cuff about 2 inches deep. 



IS 



Corkscrew Sleeve. 

DIA. 49. 

Same as a Bishop with following exception: — 
Trace line 30 from wrist to elbow and cut to elbow 
allowing ]^ inch for seam. Lines 30 are sewn to- 
gether and the material between is gathered into a 
space 2 inches below the elbow. By applying the.se 
principles any style of sleeve desired can be easily 
obtained. 



Columbian Sleeve. 

DIA. 49. 

Is identical with the shirt sleeve, but is from 40 
to 54 inches wide and pleated to about 6 inches 
above the wrist to form the cuff. 



Draped Skirt. 

DIAGONAL FOLDS. 

DIA. 50. 

Draw lines i and 2 at right angles; 3 is the 
length of skirt; 4 is 6 inches more than waist mea- 
sure from top of line i , Draw line square from 4, to 3 
inches more, than length of back skirt, Curve line 7 
to 3, 8 is 2 inches below 4. Use 4 as a pivot and 
sweep line 9, measure bottom of skirt from 3 and 
make 10 the width desired for skirt and draw straight 
line from 8 to 10 for center of back. We now turn 
to the waist. 12 is 2 inches more than >4 of the 
waist measure on line 2, 13 is 6 inches from 12. 
The diognnal folds are represenied by A, B, C and D, 
R is i>4 inches from 12, B is i>^ inches to the right 
of R and i inch below the waist, R, C, R and D are 
only a repetition of R and B. Informing the folds, 
B comes over A, C over B and D over C. The 
space on line 14 forms the pleaits in centre of back. 



Plain Skirt with Shawl Back. 



DIA. 51. 

I and 2 at right angles, 



Draw lines i and 2 at right angles, 3 is i inch 
inside of line i , 4 is ^ the hip measure from top of 
line I, 5 is I inch from 4, 6 is length of front skirt, 
7 is 6 inches down to find the hip, 8 is square from 



42 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




RIDING-HABIT BODICB. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



43 




SEAMLESS PRINCESS. 



7, 9 is ^ the hip measure from 7. Draw line 11 
from 5 through 9 to length of back skirt; Draw line 
12 from 3 through 7 to length of front skirt, line 10 
is the bottom of skirt. Make the space from 3 to 5 
I % inches less than % the waist measure, by insert- 
ing 3 darts as in diagram. 



5hawl Back. 

DIA. 51. 

Fold the goods so that the straight and selvidge 
edge runs together as at A, when B forms a bias fold 
in center of back; E is the point of fold; C is 6 inches 
below E; D is the length of back below C. Use E 
as a pivot and sweep line F from C and line G from 
D to line B; drop i inch on B and draw to line G; 
the space on F forms the pleats. When the mater- 
ial is not wide enough to form the length of skirt, a 
piece is added below H. The measures required are 
Waist, Hip, length of Front and Back. 



Hints on Making. 

Fashion in ladies' garments is ever on the 
move; like the waves of the sea, it advances and re- 
cedes. Now going back to the level of former days 
and then starting afresh till it comes up to the height 
it had formerly occupied. The effect on tje style 
of costume skirt has been very marked, but the fu- 
ture, as well \h^ present styles can be easily produced 
by applying the principles as illustrated in our dia- 
grams and which will readily suggest themselves to 
our readers. As it is our mission to keep them 
posted up to date and at the same time giving them 
the plan by which the fullness may be increased to 
any desired extent. Foundation skirts are for the 
present, seldom used. All skirts are now being 
made up lined throughout, a facing put around the 
bottom some 5 or 6 inches deep and in many cases 
braid is added just on the edge. A pocket is inser- 
ted in the right side and an opening termed a 
" plackitt hole," arranged on the left. The waist 



44 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




BISHOP SLEEVES. 



band is made up to the nett size of the waist and a 
mark placed in the centre of front, so that the 
skirt may be put on properly. Trains are becoming 
a thing of the past. 



Drapery. 

To drape a skirt well, is undoubtedly a work of 
art and inasmuch as each figure requires certain 
adaptations to make it the most suitable, it will at 
once be understood that any rules we may lay down 
are to be applied in a general sense, leaving the 
special application to the figure to the drapers judge- 
ment. The material has a considerable efiect on the 
drapery, heavy thick material needs far less to form 
a fold than thin. The warp or lengthways of the 
material should always run down the figure: and if 
not wide enough to produce the desired effect, join 
some on either side, always avoid a seam down the 
centre of front. 



Drapery consists of an artistic arrangement of 
folds and hangings and there can be no doubt that 
the best means of becoming proficient in this art is 
by experiment. The foutidation skirt may be liken- 
ed to the walls of a house, the drapery to the paper 
and pictures and other ornamentation hung upon 
them. Take the foundation and having put into the 
waist band, etc., arrange your folds of drapery on 
this till the desired effect is produced. There is no 
golden rule for this; nothing but practice and exper- 
iment can teach you how to drape artistically for all 
your customers, inasmuch as every figure has it? 
peculiar feature, its points of beauty to bring out, its 
points of ugliness to tone down, in addition to 
which materials very considerably in the way they 
form folds, or in other words, drape ; so that what 
might be a good rule for one material or one figure, 
would not apply at all for another. 

The following are the three styles of drapery 
viz : — I . Vertical folds or Dress Kilt. The artistic 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



45 




UKAPKU tiKlKT. 



effect of this adds height to the figure and is gener- 
ally a favorite style and is produced at the sacrifice 
of width, thus: suppose your Foundation skirt is 40 
long and 2]/^ yards round, your material would then 
be cut off in lengths of, say 42 inches, the extra 2 
inches allowed for hem at bottom ; these would then 
be seamed up till it was from 4^ to 6^ yards 
round. The smallest quantity a kilt can be arranged 
from to look at all passable is double quantity, whilst 
for thin materials treble quantity will be needed. If 
the kill is very deep it will be necessary to keep it 
in place by means of tape put about 14 inches apart. 

2. Horizontal folds or tucks. To produce these 
extra length is required, the points below the folds 
would be exactly the same as the foundation, each 
fold would consume about 4 inches of length in a 
fairly good substance cloth. 

3. Diagonal folds . These are produced at the 
expense of both length and width and are the most 
difficult to arrange for in any other way than by 
draping the figure or the dummy; but if it is desired to 
form some idea of the shape of the material required 
for this drapery, take foundation pattern, mark 



where the folds are desired and cut it across at each 
part so marked and allow 4 inches (or more) space 
between the parts; but this will only give a general 
idea and must be corrected by actual draping on the 
figure or dummy. In arrangmg drapery, always keep 
straight thread of thematerial straight down the front; 
in referring to this we are not ignoring 
the fact that draperies are often arranged on the 
bias, but the same rule applies. If it is to be arrang- 
ed on the bias, see that the center of front forms the 
true bias. We will not dwell on this subject of folds, 
etc., longer, as any variety that may be introduced 
must come under one of the three heads : Horizontal, 
Vertical or Diagonal ; and the same principles which 
govern them at one place, must be applied to pro- 
duce them in another, in order to get similar effects. 
The Combination of Material. 
One of its special features is its giving consonance 
to the costume, a rule oi ornamentation that should 
never be lost sight of; thus suppose the bodice has a 
vest in it, the skirt should have a panel of the same 
material as the vest at some part. If for a stout lady it 
could not be better than up the center of the front. 



46 



PARISIAN TAILOR COMPLETE INSTRUCTOR 




PLAIN SKIRT WITH SHAWL BACK. 



A panel always appears to best advantage when is it of 
a richer material than the skirt itself. There is one 
remark we must not omit and that is : never arrange 
the darkest material to come at the bottom, as at a 
little distance the length of the figure terminates with 
the light part, which makes the figure appear very 
much stunted. 

If it is desired to get the dark part at the bot- 
tom, this defect may be avoided by the introduction 
of a flounce or cross- way band along the bottom of 
the drapery, and so attracting the eye to notice it. 
These are little points, but it is in the attention paid 
to such trifles that ladies' tailoring becomes a fine 
art. Very much more might be written on the sub- 



ject of skirts and skirt drapery, but we have already 
extended our remarks somewhat, this being a sub- 
ject that is not so well understood as other branches 
of the tailoring trade, but a little practice and a 
little experiment on the lines we have suggested 
will soon simplify what may appear a difficult 
matter, and pave the way for success. We will 
now conclude this section by a few hints on 

Back Drapery. 

This is usually a full width of 54 inch material 
gathered or box pleated into the waist-band at the 
back, but the same principles apply to it as with 
the front drapery as regards folds, &c. 



1 

AND PRACTICAI, GUIDK TO tADIES' TAILORING. 



47 



Ladies' Dress Bodice, from Chectced 
riaterial. No Seams Allowed. 

Many of the students who come to our Academy 
to study the Art of Cutting Ladies' garments, have 
been in the habit of taking out the % inch suppress- 
ion between the back and side form and as the 
material from which Ladies' garments are now being 
made have a distinct tendency to large patterns, 
we deem it advisable to show the variations necessary 
to meet such cases and facilitate the matter of match- 
ing. In garments from such materials, /?/ has occasion- 
ally to be sacrificed to some extent, so that sfy/e may 
be allowed full scope. Always use the French Bias 
Basque for front and take out i}( to ij4 inches in- 
side of dot 6 in the back, but nothing between the 
back and side-form. The reason for this is : if any 
suppression were taken out, it would be found im- 
practicable to match both the vertical and horizontal 
stripes ; still, we wish it to be distinctly understood 
this method is arranged for the purpose of allowing 
check material being made up with all the 
cross-bars to match exactly, and not with the view 
of producing the most accurate fit. With these 
cautionary remarks we will proceed to give a few 
hints on 

Cutting and Making. 

Allow no seams on the pattern : the leading 
feature to be studied in making up is, that the pat- 
tern shall match at all the various points to a nicety. 
Lay the back pattern on the bias, and baste all 
round, then cut out, allowing seams ; now turn in 
the back just to the mark and lay it on the top of 
the side-form and so get it to match every bar and 
cross bar and when in that position fell baste it from 
the outside, which will then leave a row of straight 
stitches on the wrong side and which will clearly 
indicate the place where the seam must be sewn. 
Never cut the goods on the double; each part must be 
carefully adjusted to the parts adjoining. We have 
indicated the most efiectual lay of the pattern on the 
material, cutting through the perpendicular lines on 
the back seam, but arranging the front to run with 
it, as that is the only way of getting the pattern to 
match down the center of front. 



Colors to 5uit Certain Complexions. 

For our purpose we will divide the complexions 
into two classes, the dark and the fair, or the 
brunette and the blonde. As a general rule it will 
be found reds and yellows suit dark people best, and 



blue is the color which shows off the fair beauty to 
the best advantage. Black, white and grey suit all 
people. A soft deep black, such as velvet, will set 
off a blonde; whilst a bright black, such as black 
satin, will set off the brunette. White, and all those 
colors which reflect the most light, have the effect 
of making people appear larger than what they 
really are, whilst black, and all colors which absorb 
the light, make people look smaller and consequent- 
ly a stout person would appear to best advantage in 
a black dress of dull material, whilst on the other 
hand, a little women would l)e seen to best advant- 
age in a white dress made from some brilliant 
material. 



Cutting the Garments from the Cloth. 

In our former lessons we have devoted our at- 
tention to the scientific features in draughting out 
the pattern, but as there are several points to be ob- 
served in cutting a garment from the cloth, we will 
turn our attention to this in the present lesson. 
The lining should be cut on the crossways, being 
careful that the waist line of pattern runs with the 
grain or thread of the lining. Trace all the seams 
carefully, then cut out, allowing yi inch seam out- 
side the tracing. The first thing to be seen when 
unrolling the material, is : has it a way of the wool, 
ox & pile on its surface, and if so, to carefully arrange 
all the parts of the lining, so that the pile or wool 
will run down. When the material is single width, 
and there is a way of the wool, the length must be 
cut off, and then laid on the top of the material 
again, so that the /zV^ may run the right way on 
both pieces or sides, which it would not do if it was 
merely folded back over. This matter ol the pile 
appears very simple, but we have known cutters 
after 20 years of practice err in this direction so that 
especial care must be taken. 

In cutting a gannent from check material that is 
desired to match , ^ to )^ more goods will be re- 
quired as each piece must be cut out separately. 



A Few Hints on flaking. 

Having cut out our garment, the next thing is 
to make it up, so if you will follow vis to the work- 
room, we will explain the principal points to be 
noticed in making Ladies' Garments. The first 
thing we do is to baste the lining to the material , 
this is done with baisting cotton with stitches, say i 
to i^ inches long. The lining should be fulled \ 



4^ 



PARISIAN TAILOR COMPLETE INSTRUCTOR 



inch, from 2^ inches above, to i^ inches below the 
waist. The next thing is to baste the seams to- 
gether; always baste from the waist line up, and 
from the waist line down, being careful that all 
points touch at waist and arms eye; in basting the 
side form to the back, always hold the back piece 
towards you; take one stitch at a time and baste 
closely, so that no possibility exists of the stitches 
opening, or, as it is called in the trade "grinning." 
Now stitch up all the seams except the ' 'Under-arm 
Seam. ' ' The next point is the pressing. A good 
sharp iron should be used, and our advice is : P?ess 
as you go and press thoroughly whilst you are at it. 
Press the seams first by running the iron along on 
either side, then just dip the fingers in some water 
and run them lightly along the seam opening it as 
you do so. Now open the seam with the iron and 
see that it is pressed quite flat. If the material is 
very thick and stubborn, a very little soap rubbed 
lightly on either side of the seam will facilitate the 
press and enable a good result to be got far quicker 
than without its aid. Speed in pressing is fatal to 
success. Having pressed the foreparts, put on the 
bone casings, if any bones are to be inserted, and 
sew to the seams on either side; they should not 
come higher than the top of the darts at any point, 
nor more than 2\ inches below the waist in a long 
basque. It is best to leave the casing loose for \ 
inch at the top and it must always be put on very 
full over the waist. Now take the bones, round the 
ends and make holes at top, bottom and center with 
a red hot knitting needle; put them into the cases as 
loiig as possible, so that they may force the outside 
of the garment into a hollow. They should be 
fastened at top, bottom and centre through the holes 
previously made. Both sleeves should be basted in 
and a collar basted on and the garment is ready 

To Try On 

Though, be it noticed, this is not demanded or 
necessary on account of \h^fit, but more to have 
the customers' particular fancies infused into the 
garment as it is proceeding. If any alteration is 
necessary, be sure and mark it by a distinct method, 
so that you will leave nothing to memory. 



Fire and Water and the Pecularities 
of Materials. 

Fire and water are probably the most powerful 
servants the world possesses, working marvels of 
speed and powers in ways too numerous to mention. 



and if tailors and dressmakers would avail them- 
selves of their use, they must make a study of their 
pecularities and how they operate on the various 
materials they have to deal with; if they do this, and 
become masters of the art of manipulation, they will 
be able to produce results quite as marvelous as can 
be produced by the same agents in other spheres. 
Our present article will be devoted to the way ex- 
perience has taught us to use the iron, and to place 
before our readers those little observations which are 
apt to be thought lightly of by the inexperienced, 
but which, if not acted upon will bring serious results. 



Velvet. 

The proper way to press velvet is to place the 
iron on its end and pass the velvet over the iron, 
whether for stretching or pressing and yiever pass the 
iron over the velvet, because if this were done, the 
pile of the velvet would be crushed and the appear- 
ance spoiled. Velvet which by accident or ignor- 
ance has had the pile damaged in this way, may be 
restored by getting a very sharp iron, putting a very 
damp cloth upon it and placing the velvet uppermost. 
The driving power of the steam raises the pile and 
so brings back its former beauty. 



Velveteen and Plush. 

Can be treated in the ordinary way, the only pre- 
caution necessary being that the iron shall not be 
too hot, as it is very likely to color it. 



Gold Lace and Braid. 

Should be pressed without any moisture what- 
ever. It should be pressed more by weight than 
heat, for if a hot iron is used and it is kept on too 
long, it will very likely discolor it 



Macintosh Goods. 

May be pressed by a warm iron and then made 
to lay flat by beating down. It would not do to use 
the driving power of steam on this or the rubber 
would be damaged and so the waterproof feature 
spoiled. 



Leather and Fur. 

As a general rule it should not be touched with 
a hot iron, so that if there is either a fur lining to 
a garment or leather pockets. It will be well to re- 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



49 



member this and put all the pressing into the gar- 
ment before the lining or pockets are put in. 



Silk Facings, Etc. 

Silk such as is used for facing, nuist be very care- 
fully handled with the iron for if it is pressed in the 
ordinary way it will glaze very quickly and also 
mark through, so that special precautions must be 
taken to avoid this, which can be done as follows: — 
Get a piece ot alpaca and put it over the part to be 
pressed. Put a fairly thick piece of woolen cloth on 
the top of that and then a piece of Silesia on that and 
press through the lot. This will avoid any marking 
and the alpaca will take all the glaze and the silk 
will be pressed well. 

This concludes the special provisions for the 
peculiarities of materials as far as they suggest them- 
selves to us as affected by fire and water. Possibly 
there are some we have omitted, but if our readers 
will observe those to which we have referred, they 
will be able to deal with the most important. This 
subject will doubtless bear different treatment by 
different men, but that is only to be expected, for on 
this subject, like any other, it is only natural that 
there should be many minds. 



Trimming. 

Always bear in mind the class of customer the 
garment is for and trim accordingly; always endeavor 
to trim harmoniously; that is let the pattern of the 
buttons agree with the braid, the braid be suitable 
for the material. Use the utmost care in matching 
every item — buttons, silk, twist, pockets and lin- 
ings, must all be carefully considered; the trimmer 
must be in earnest about her business, take a pride 
in her calling and she will soon acquire such a pro- 
ficiency that use will become second nature. Some- 
times the garment to be trimmed is so peculiar in 
color or mixture that to match is quite out of the 
question. As a general rule, it will be the safest to 
make the groundwork of the pattern the color to be 
matched. In order that we may explain this mat- 
ter a little more fully we will deal with 



The Science of Color 

as at present understood. The study of color in all 
its applications is very vast; but, to describe it 
briefly, color depends on light. White light pro- 
duces all the colors of the spectrum when analyzed 
through the prism. There are seven of these which 



can be easily memorized by the following meaning- 
le.ss word, viz : vib-gy-or — Violet, Indigo, Blue, 
Green, Yellow, Orange, Red; of which three are 
called primaries, they not being producable by any 
mixing of the others. These three are Blue, Red 
and Yellow. 

In white light, blue constitutes half, red rather 
more than a quarter and yellow rather less than a 
quarter. Each color has a complementary composed 
of the remaining parts of white light and this com- 
plementary is of \h& first importance in the combina- 
tion of colors. The complementary of red is green. 
The complementary of Blue is Orange. The com- 
plementary of yellow is purple. The complementary 
of green is red and russet. The complementary of 
orange is blue and olive. The complementary of 
purple is yellow and citrine. Black, white and grey 
are neutral shades, going well with any color. 
Black deadens and white brightens any color it is 
placed by the side of. In arranging a costume, it 
should be done, so that harmony — either of contrast 
or anology prevails. The combination of comple- 
mentery colors is called the harmony of contrast; 
the harmony of analogy consists of the combination 
of different shades of the same color, thus ; a dark 
brown and a drab, or a crim.son and a pink, and so on. 



We trust this brief allusion to an important sub- 
ject will to some extent assist our readers and friends 
and point out this as a fitting subject to study if they 
aspire to eventually become 

Artist Dressmakers and Tailors 

In deed as well as in name. Certainly if they grasp the 
important principles to be deduced from a study of 
art in colors, they will not only be better dressmak- 
ers and tailors, but it will open and expand their 
minds so that they will mentally revelin the beauti- 
ful combinations nature produces with such uner- 
ring skill, as she alone 

Writes tlie True Fashion Journal 

Of each Season by the colors she strews all over the 
earth, so that when they gaze on the garden or the 
landscape, they will becompelled to look beyond na- 
ture's works to nature's God. 



Easy riethod of Cleaning. 

A few hints on methods of cleaning we have 
used sucessfuly, together with other methods which 
have come under cur notice from various sources 
will prove vary useful to the cutter. 



50 



PARISIAN TAILOR COMPLETE INSTRUCTOR 



Amonia. 

Is now in general use and is a very powerful 
agent in removing grease and most all kinds of dirt 
and stains, and the smell it leaves behind soon evap- 
orates and is not unpleasant. As it effects the color 
in many instances, it is advisable to use it only on 
black, white, grey, dark blue and similar colors. 
Rock amonia is the best form in which to purchase 
it. It should be diluted in water and applied to the 
garment by means of a cloth pad made of similar 
material to the garment to be cleaned and whenever 
possible, it should be of the same color. 

Benzine. 

Is another preparation we have found wonder- 
fully effectual in removing the most obstinate stains. 

Ox Gall 

is a very effective cleaner and is generally supposed 
to revive the color of black goods; if it is not fresh, 
however, when used, it is apt to leave a disagreeable 
smell behind. 

Turpentine 

Is generally looked upon as the agent for removing 
tar, paint, etc.; but of all the agents we have tried 
in this direction we have found none to equal 

Chloroform 

Since it may be used on the most delicate colors 
satisfactorily, and as it evaporates very rapidly, 
there is not the slightest smell with it, but it requiies 
using with care and is expensive. Grease may often 
be removed by the use of a hot iron and paper, 
which will dissolve and evaporate it; hence any of 
the spirts we have previously quoted will greatly 
assist. 

Oxalic Acid 

Is especially good for removing iron-mould, rust, 
wine, fruit and in fact almost any stain from white 
goods, whilst 

Salts of Lemon 

Is the recognized agent to remove ink stains ; but 
as they are very powerful in the effect they have on 
colors, they should not be used on any but white 
goods. The best method is to dissolve in luke 
warm water ; let a drop rest on the spot so as to 
saturate it for a minute or so and then rub it. 

Soap and Water 

Are the most generally useful. This method is 



simple, inexpensive and unaccompanied with any of 
the risks of injuring the color incidental to the use 
of chemicals and should be always tried before re- 
sorting to the more powerful agents which often 
injure both the color and fabric of the garment. 



How to Clean Riding Habits. 

There is but one way to clean a riding habit 
properly, namely; to dip the skirt into a bucket of 
clean water, wring it out and repeat the immersion, 
and wringing if necessary until all stains are oblit- 
erated. After the last wringing the skirt should be 
carefully hung upon the line and wrung at the bot- 
tom from time to time. When nearly dry it should 
be laid flat on a clean table and carefully ironed 
over. Skirts mounted with leather may be washed, 
keeping the leather out of water. 

Stains upon the body of the habit can easily be 
removed by applying some water in which a little 
amonia has been dissolved, a sponge and a clean 
water brush will do the rest. If the habit is of a 
light color, it is best not to use amonia. 



Easy Method of Waterproofing Cloth. 

For waterproofing cloth ; 4 ounces of powdered 
alum, 4J^ ounces of sugar of lead ; dissolve in 3 
gallons of water and stir twice daily for two days. 
When perfect subsidence takes place, pour off the 
clear liquid only and add to it 2 drs. isinglass pre- 
viously dissolved in warm water ; take care to mix 
it thoroughly. Steep the garments in this mixture 
for 6 hours, after which hang up to drain and dry . 
Wringing must be avoided. 



Three Laws of Beauty. 

The three laws of beauty are unity, order and 
proportion and it may be of both interest and service 
to our readers to study the following description of 

A Perfect Woman 

which we take from a Boudior Manual, by Zoe. 
Hamilton. It contains much that is useful to the 
Ladies' Tailor: — The Medicean Venus is 5 feet 5 
inches in height and this is held by sculptors and ar- 
tists to be the most admirable stature for a woman. 
As for coloring and shape, here is the code laid down 
by the Arabs who say that a woman should have 
these things: i?/(?fX:— hair, eyebrows, lashes and pupils; 
White — skin, teeth and globe of the eye; Red — ton- 



AND PRACTICAI. GUIDE TO LADIES' TAILORING. 



51 



gue, lips and cheeks. Round — head, neck, arms, 
ankles and waist. Long — fingers, arms and limbs. 
Large — forehead, eyes aud lips. Narroio — eyebrows, 
nose and feet. Small — ears, bust and hands. 

For a woman of 5 feet 5 inches, 138 pounds is 
the proper weight. With arms extended, she 
should measure from tip of middle finger to tip of 
middle finger, just 5 feet 5 inches exactly her height. 
A woman of this height should measure 24 inches 
about the waist and 34 inches about the bust. The 
length of her hand should be a tenth of her height 
and her foot a seventh. 

Comparative Measurements. 

The Venus dc Medicis and the Mediceaii Venus 
are the statues that have charmed the world for 
ages and have been looked upon as masterpieces of 
art, or in other words 

The Highest Ideals of Proportion 

That sculptors have ever produced and as some pa- 
pers have been printing facts about the ' ' perfect 
woman " physically considered, we give the follow- 
ing list of measurements of the 

Venus de fledicis 

As compared with those of Airs. Langlry which 
will prove most interesting. An artist of London, 
supplies the comparative measurements of the Venus 
de Medici and Mrs. Langtry, two types of the an- 
cient and modern world. The height of these two 
beautiful women, the one in flesh and blood and the 
other in marble, happens to be the same, viz. 5 feet 
and 7 inches. Hence the two may be taken as il- 
lustrating the difference of ideal physical proportions 
of the ancient and the modem. Where and how the 
measurements of Mrs. Langtry were obtained we do 
not know, but we have no reason to doubt their 
correctness :• — 

MRS. LANGTRY. THB VENUS. 

Height 5 feet 7 inches. 5 feet 7 iuches. 

Across the Shoulders... 15 inches. 16}^ inches. 

Bust 36 " 38 

Arm 12 " 12 " 

Thigh 24 " 24 " 

Calf 12 " 12 

Neck 12 " 13^ " 

Hips 45 " 42 " 

Length of Leg 28 " 32 " 

Waist 26 " 

Length of Arm 26 " 28 " 

Ankle 8 " 9>^ " 

Foot 8 " 

Face lyi " ... " 

Doubtless there are millions of beautiful women 



who do not come very close to either, but taking 
Mrs. Langtry as a type, it appears that the modern 
runs less to shoulders and more to hips than the 
woman of antiquity. On the whole, the modern 
woman appears to be less muscularly and more vol- 
uptuously formed than the ancient. 



Foundation of Success. 

We will now draw to a close with a few words 
of advice to the young beginner. As a young 
cutter, remember you are laying the foundation of 
your future career; the starting salary is of no con- 
sequence, if by accepting a low salary you can be 
initiated into the mysteries of your trade, never look 
upon it as a sacrifice; never be afraid of work; make 
your profession a study; give it your first attention; 
if you would be self-reliant and independent, you 
must acquire a thorough knowledge of the Parisian 
Tailor System and master the contents of this work 
which is the best investment you ever made if you 
only study it, for no matter how many banks /ail, 
nothing can take away your trade from you; there- 
fore concentrate all your energies on it; be deter- 
mined to be first-class; aim high and you'll strike 
high; value your reputation, your character as 
a pearl beyond price. Learn to love your calling, 
a profession which took its start in the Garden of 
Eden f When , as we read in Genesis III, V, XXI, 
"Unto Adam also, and to his wife did the Lord God 
make coats of skin and clothed them." Never do a 
duty in any but the very best way j'ou can; exhaust 
the whole of your resorces, never mind the payment; 
for in bringing all your powers into play you are 
expanding and developing them and so increasing 
your own capabilities. Shun temptations, persereve 
in the right and in the long run, sooner or later, you 
will make your mark. Success will be yours, and 
you will find that in honoring your profession, it 
has honored you, aud you will reap a commensur- 
ate golden harvest. When will you start ? 

Conclusion. 

This work has been written with the view of 
helping the young beginner to progress by easy 
stages and to stimulate the study of Art and Style 
in dress. Ladies' Tailoring is a profession second 
to none and requires as much skill and taste as the 
cutter can possess to fit the human form with ele- 
gance and grace. The Parisian Tailor System of 
cutting is of vital importance towards success in cut- 
ting, as it combines both style and elegaiice, with 
sufiScient elasticity in its lines, so that it can eaisly 



52 



PARISIAN TAILOR COMPLETE INSTRUCTOR 



be adopted to suit every variety ot shape or form — 
whether tall, thin, short, stout, stooping, over erect, 
square or sloping in the shoulders, full or flat in the 
back, prominent or contracted in the chest, or any 
other peculiarity. While it is important that we 
succeed in fitting these different forms and infuse a 
good style into their garments, we must cut and 
make them, not so much to please ourselves, as 
those who entrust their orders to us. In treating of 
a subject of such vast importance as art and style in 
cutting ladies' dress, we feel how vast is its scope and 
when we consider the millions who are engaged is 
the adornment of the female form we are lost in 
wonder. It is no light task to grapple with a sub- 
ject that is of interest to all womankind, for each 
and every one has something to say upon this mat- 
ter; for it is well known that ladies make a study of 
dress; they read about it, they write about it, they 
think about it, they talk about, they attend public 
institutions to look at it, they work for it, aye and 
aften deny themselves the common necessaries of 
life to procure it. It is not part of our duty here to 
condemn all this. Our object is rather to show the 
cutter who hopes to become first-class at this branch 
of tailoring, the necessity there is for application 
and study, to become acquainted with science in all 
its teachings so as to apply it to his calling. In 
conclusion we will only remark that the cutter who 
cannot, by the system and measures alone, and by 
means of the same, open any fashion Journal and 
correctly reproduce any design to said measures for 
any garment, does not unnerstand the Parisian 
Tailor System, or genuine science of garment 
cutting ; and would do well to begin again with 
the Instruction Draft, the Alphabet of Said science. 
Respectfully, 

P. A. FOURIER. Philadelphia, Pa. 



Miscellaneous. 

In getting up a work on Ladies' Tailoring, 
there are many little things, which, though useful in 
themselves, cannot be properly classified under any 
of the previous sections, so we purpose dealing with 
such in this Section. We treat first of 

How to Take the Pattern of an Old 
Garment. 

This is essentially the Dressmakers' method, 
who makes not the slightest claim to scientific 
knowledge ; but it has also to be resorted to by the 
best of cutters, so that although extremes meet, yet 
there is a marked difference in their methods of do- 



ing the same things. The former slavishly follows 
the run of every seam, whilst the cutter merely 
takes the essentials of fit from the old garment, and 
then goes to work to infuse as much art as he possi- 
bly can, so as to, as far as possible, bring out the 
points of beauty, or tone down those prominent 
features which would detract from the grace of the 
garment on the figure. The exact method they 
each use, however is as follows : — The dressmaker 
takes her pattern garment and pins paper on each 
part, and by placing it over the knee she is enabled 
to get the exact shape, and then by allowing seams 
on all sides, she can thus produce a fac-simile gar- 
ment. And it would be idle for us to say the 
method is not successful, as we have seen some first- 
class results produced in this way. In contrast to 
this, however, we will show 

The Tailor's Hethod, 

As adopted by a well-known Tailor of this city, as 
follows : — Whenever a garment was ordered which 
he was unable to measure the lady for, he would 
send the old garment to a firm of bust makers to 
have a dummy made to fit the bodice, by which 
means he would be able to successfully cater for the 
wants of that particular customer without a try-on, 
even if she were in the Antipodes, as he would for 
all practical purposes, have her duplicate to try on 
as many times as he could wish. This method of 
course, entails an extra cost, but as the bust would 
be always ready for use at any time, the first cost 
would be the only one, and would be of use for 
everj' kind of garment. Another plan is to fit the 
old bodice on a dummy of figure as near the same 
size and shape as possible, and pad it up to the 
bodice wherever the figure is lacking. Still another 
method is to lay down the garment so that each 
piece lies flat, and take a tracing of it by means of a 
pricker in a similar manner to the Dressmakers' 
method, but this requires practice to do it success- 
fully. The next detail we will notice is 

Swiss Belts. 

These are very popular at the present time. 
The ordinary close fitting bodice or jacket pattern 
is taken, and the outline of the belt is then marked 
as much above and below the waist as may be de- 
sired; care must be taken to avoid getting it too 
hollow at top and bottom of the various parts, or 
there will be a peak at the seam. These belts are 
made up with bones under the various seams as for 
a bodice, which will necessitate the lining being put 
in extra long. One dart only is taken out in front. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



53 



which will be found quite sufficient. We will now 
proceed to take a glance at a few of the defects fre- 
quently met with and foremost amongst these we 
must place 

Creases at the Waist 

And just over the Hips. These arise from various 
causes, which may be briefly summarized as follows: 
I — Too tight over the Hips, causing the garment to 
ride up at the waist. 2 — Linings put in too short 
over the waist section, thereby keeping the garment 
from falling naturally into its place. 3 — Defective 
balance, such as a short back. In either case, of 
course, it will be necessary to consider what is the 
cause and remedy accordingly, the remedy in each 
case suggesting itself, for, as has been well said, 
"A knowledge of the disease is half the cure. " 

It is not our intention to give remedies for the 
various defects, beyond pointing out that shortness 
produces a drag, and length a falling away; too 
much width produces vertical folds, and too much 
length horizontal folds. Extra suppression at one 
part causes fullness at another, and that probably 
the most fruitful source of trouble in coats, &c., is a 
short collar. These are a few general principles 
which will help the cutter to think for herself and 
solve the why and wherefore of the many defects 
she meets with. 



The Nine Points 

Always to be noted in fitting are: — i. Collar at 
back. 2. Top of side-seams. 3. Waist, back and 
sides. 4. Pleats. 5. Sleeves. 6. Collar at side 
and opening. 7. Shoulder. 8. Front of .scye, 
breasts and bottom of forepart. 9. Run of front. 



Cutter and Employer. 

Nice points are often raised in the course of 
business as to how and where to draw the lines de- 
fining the duties of foremen or managers and cut- 
ters, and also the true relationship of each to the 
other. On the very threshold of this we are met 
point blank by the fact, long established and ever 
unalterable, that no definate rules can be laid down 
beyond these, and down we lay them unhesitatingly. 
Good conduct, good breeding, consideration for 
each others' feelings and difficulties, coupled with 
a resolution on the part of both to add to the com- 
fort of the other. Technically , these are not very 
business-like rules, but morally viewed, they are 
as important as they are necessary. As a motto it 



must be borne in mind that each establishment acts 
on its own custom. For instance, in one the cutter 
will be asked her opinion on the purchaces of a 
season's goods ; in another she is not consulted. 
These, perhaps, are the rules of each place — no 
slight is intended. Buying is undoubtedly the 
manager's department, and if a cutter is consulted, it 
is by courtesy and not by right. Temporary differ- 
ences often, as we know, arise from trifling breaches 
of cutting room etiquette. If the matter be a delicate 
one, a little forbearance in approaching it and a 
gentlemanly way of putting things will invariably 
save a breach. 



A Word to Both. 

The following summary, like the preceeding 
lines, may seem trivial. Let it appear so. Few 
things could be great but for the little ones which 
make them. The largest trades are the outcome of 
harmonious co-operation of trifles ; and the less 
each intrudes on the allotted department of the 
other the better. If one thinks the other at iault, 
first with marked quietness and in the best spirit 
possible, go and ask for a full explanation. We 
know the usual mode is for an independent cutter 
to make a furious rush at a supposed grievance — a 
separation being the result. Impetuous foremen 
too, as a rule, carpet the cutter, and begin to blame 
in tones of high authority, assuming the cutter is 
guilty before she has had a chance of giving an 
answer. If, after due inquiry, explanations are not 
satisfactory, then lay down the law as strongly as you 
like. Whenever possible let one and not tzvo attend 
to the wants of a customer. Two cannot sell . 



Two Cannot Try=On. 

We do not here purpose laying down rules of 
any kind for this, the real art of high-class tailoring. 
All that has to be said here is this : — Always, when 
possible, the person who for the time being is res- 
ponsible for the try-on, ought to be alone with the 
customer. It is a misery and a misfortune that 
foremen — non-practical, more than practical — mana- 
gers and even ordinary countermen, insist on super- 
intending the cutter, or at any rate of being present 
when she is trying-on. We have three reasons to 
urge, and very strotigly against this; they are: — 
I. That as a rule it is neither considerate towards, 
nor agreeable to the customer. 2. It is very dis- 
agreeable to the (for the time being) most important 



54 



PARISIAN TAILOR COMPLETE INSTRUCTOR 



personage in the transaction — the cutter. 3. If she 
be a quick, clever and nervous person, she will be 
embarassed — it is bad for the garment being so 
tried on. 



Management of the Workroom. 

The human race has been constituted by an all 
wise CREATOR of different dispositions and temper- 
aments. Probably there are no two individuals 
exactly alike in this respect; and, no matter how 
small the number of employes with whom we have 
to deal, it is sure to show itself. In this particular 
sphere then, which is the best way of coping with it? 

To be successful, three qualities are absolutely 
essential; Evenness of temper on your own part; 
firmness, and perfect fairness to all; always avoid 
the slightest semblance to favoritism. If occasion 
arise to make any complaint, or reprove anyone for 
misbehaviour, never do so before their shopmates. 
It is always a mistake to take this step. Far better, 
rather, to send for the offender into your cutting 
room, and there quietl)' point out the error, firmly 
and quietly intimating your views on the question. 
Given in this way, it is almost sure to be effective. 
Always listen attentively to any complaint or request 
that may emanate from those under your charge, 
and give it your best consideration. Be perfectly 
firm, yet just toward them and let them understand \ 
that you are master; for such the forelady or cutter 
should be, even if not their emploj'er. We have 
opened out a very wide subject under this head, 
capable of occupying entirely a separate volume, if 
fully dealt with. And now b}' the way of 

Closing Remarks 

We will say that what we have rather aimed at, has 
been, in simple and practical language, to lay down 
rules that may be adopted, with but little modifica- 
tion in any cutting room in the world. 

This brief allusion to an important subject must 
sufiSce for this work and that it may bear much fruit 
and atleast be appreciated by our patrons and friends, 
is the parting wish of 

THE AUTHOR. 
Philadelphia, Pa. 



The Voice of the People. 

Tailors to Dressmakers. — 

" This certifies that we, the undersigned Mer- 
chant Tailors and Cutters of Philadelphia, Pa., have 
carefully examined the Parisian Tailor System, 
and find it to be verj- fine, the best we have ever 



seen. No higher p)-aise ca.n be given it than to say 
that it employs the same principles in dresscutting 
that we use ourselves in cutting gentlemen's cloth- 
ing. In our judgment it is sure to be of great 
be7icjit to any one who learns and uses it. ' ' 
D. M. Rattay, 1x6 So. nth St., 
John Stilz & Son, 919 Chestnut Street." 



"Raleigh, North Carohna, Jan. 24th, 1895. 
To All Whom it May Concern: — 

I can conscienciously reccommend the Parisian 
Tailor System to be all its author claims for it. 
I wish to say I have tested it, and seen it tested on 
every variety of form, always producing the same 
accurate results. I have been a practical cutter and 
dressmaker for a number of years and have used the 
Parisian Tailor System three years and it has 
given entire satisfaction to both myself and 
customers. I can, with confidence, recommend any 
lady who desires a system to go to the Parisian 
Dress Cutting Academy, 1229 Arch Street, Phil- 
adelphia, Pa. 

Very Respectfully, 

Mrs. E. M. Cauthorne, 

Designer for Tucker & Co. , 
Raleigh, N. C." 



" Philadelphia, Jan. 14, 1895. 
To all who are Interested in the Science of Garment 
Cutting: — 

I consider it to be a matter of dutv as well as 
one of pleasure to join in the highest praise of the 
Parisian Tailor System ; having used others 
which at the time thought as near perfect as pcssible, 
but after once trying the Parisian Tailor System, 
would not go back to the old way of cutting for any 
money. I unhesitatingly pronounce this system to 
be absolutely perfect in the same ratio that the 
measures are accurate and true — is simple and easy 
to learn, and neither time, fashion, nor form can 
affect its principles. I would not part with it for 
ten times its' cost and cheerfully recommend it as 
the best sj'stemin the market, equal to every form and 
style of garment, and gives a grace and beauty of 
outline that is matchless. 

Very Respectfully, 

Miss C. M. Lukens, 
Dress Cutter for Strawbridge & Clothier. 

Residence, 4905 Penn St., Frankford, Phila." 



Here is one typical testimonial from a gentle- 
man who has a large business at Hazleton, Pa. 
This is his communication after being at the 
Parisi.an Tailor Academy ii days. 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



55 



"Philadelphia, Pa., Jan. i8th, 1895. 
Prof. Fourier. 

Dear Sir . — Before leaving, I gladly embrace 
the opportunity to record my deep sense of the value 
attaching to a course of tuition at the Parisian 
Academy of Tailor Dress Cutting. Not only 
have I acquired what I believe to be the best system 
in use, and had an insight to its variations and 
adaptations for abnormal figures, but, what is of 
primary importance, I have had awakened in my 
mind a real interest, and even enthusiasm for my 
trade. I shall have every confidence in recommend- 
ing any lady or gentleman who wishes to thorough- 
ly acquire the art of cutting to come to your 
academy. 

Very Respectfully, 

H. I. Bottiger, 
407 W. Spruce St., Hazleton, Pa." 



We have hundreds more references in this and 
other American cities, and could print a volume of 
testimonials alone, but we beg to be excused from 
giving any more space to references. We have 
their letters from their own hands, and we hereby 
challenge any one to investigate for themselves ; 
come and see the originals as written by their own 
hand and over their own signature. 

Very Respectfully, 

THE AUTHOR. 



Retail Price List. 
NO. 1. 

The Parisian Tailor System with ccmbi- 
tion Instruction and Measure Book and Life 
Sized Instruction Drafts $5.00 

NO. 2. 

The Parisian Tailor System with Instruc- 
tion and Measure Book and Life Sized Instruc- 
tion Drafts with personal instruction in cutting 
Basque with two under-arm gores, three styles 
of skirts, three collars and three sleeves, bast- 
ing, pressing and boning $10.00 

NO. 3. 

The Parisian Tailor Complete Instructor 
and Practical Guide to Ladies' Tailoring. . . .$3.00 

NO. 4. 

The Parisian Tailor System, Instruction 
and Measure Book, Life Sized Instruction 



Drafts, The Parisian Tailor Complete Instruc- 
tor and Practical Guide to Ladies' Tailoring... $8. 00 

Those who purchase No. 4 can have personal in- 
struction on any branch of Cutting at the Academy for 
50 cents for each session or fraction thereof. 

NO. 5. 

The Parisian Tailor System without print- 
ed instructions $3.50 

NO. 6- 

Life Sized Instruction Drafts $1.00 

NO. 7. 

Combination Instruction and Measure Book . .50 

NO. 8. 

Tracing wheels, or Sateen tapes (the best) each .50 
NO. 9. 

Parisian Tailor Adjustable Measure Belt 75 

NO. 10. 

Including Nos. 4, 8, 9 will be sent to any 

address by express for $10.00 

(No S includes both wheel and tape). 



Dressmaking and Finishing. 

Students in this department can make dresses 
for themselves or friends by paying $5.00 for each 
dress made under our instructions. 



Drafting Paper. 

Manilla, size 24 x 36, per qr loc. 

" " 40 x 48, " " 30C. 

Common News, size 28 x 42, per qr loc. 



Price of Tailor=Cut Patterns. 

When we take the measure, or when it is taken 
according to our instructions, we guarantee the 
pattern to fit : 
Short Coat, Basque or Riding Habit, . . . $1.00 

Riding Train, 2.00 

Riding Trousers 1.50 

Wrappers, Plain Princess, etc., 2.00 

Parisian Tailor Seamless Waist, i.oo 

Dartless Coat or Princess, 2.00 

Skirts, any style, i.oo 

Dolmans, 1.50 



56 



PARISIAN TAILOR COMPLETE INSTRUCTOR 



Russian Cloaks, 2.00 

Ladies' Inverness, ^-5° 

Capes, any style i-oo 

Sleeves, any style, °-50 

Hoods, 0-50 

Blouse and Shirt Waists, 0.50 

Vests 0.50 

Seamless Zouave and Eton Jackets, .... i .00 

Newmarket Jackets, 2.00 

Skirted Jackets, i-50 

Reefers ^■°° 

Norfolk Jackets, i-oo 



Graded Patterns. 

When you order Bodice patterns without taking 
complete measures, you should send us the Bust 
measure and we will send you a regular graded 
pattern combining both style and elegance of shape, 
but 710/ guaranteed to fit, at a discount of 50 per 
cent on the prices given for Tailor-Cut patterns. 



Success in Cutting. 

It is our desire that all our agents and patrons 
shall succeed and to those who have purchased our 
system by correspondence and have any difficulty 
in making any of the draftings given in this book, 
we would advise such to make a drafting as nearly 
correct as possible and send it to us and we will 
make a correct drafting, numbering and lettering 
every dot and line, the same as in the diagram and 
trace and cut out a pattern and return both pattern 
and drafting. These patterns and draftings will be 
furnished to our agents and those who are learning 
our system at a discount of 50 per cent on the 
price of Tailor-cut patterns. 



Send Money 

Either by P. O. Order, Registered Letter, Bank 
Draft, or Express, at our risk. In writing us, al- 
ways give your name very plainly, with the prefix 
(Mr. Mrs, or Miss) in every letter; also name of the 
town, county and State, where goods are to be sent. 
Address all Communicatiotis to 

P. A. FOURIER, Philadelphia, Pa. 



Inducements ever offered. 
on application. 



We want good and Reliable 

Agents in every town and city in the U. S. Best 



Special terms to Agents 



Conclusion 

The Scientific Cutting 
of ladies' garments by ladies themselves has become 
very popular. This being so, it occured to us that 
an "Instructor and Guide" for lady students had 
become a necessity. We have also been frequently 
asked to produce our system in its simplest rudi- 
mentary form — A simple treatise that even a school 
girl could understand; and whilst being sound in 
principle, simple in language and popular in price, 
should indicate the scope of scientific and practical 
Cutting and Making. We are pleased to meet this 
request. There is very much in these pages, which, 
being the fruit of matured practical experience, is 
well calculated to instruct, and prove an important 
stepping stone to a comprehensive and complete 
study of the whole subject. They will find very 
much here, which, in the usual way, has had to be 
acquired, often by bitter experience- We will only 
add 

In Conclusion 

Our hope, that this work will not only be found a 
useful guide to the young and aspiring, but the ex- 
perienced cutter also, who is not above receiving a 
tew hints as to propriety and order in the cutting 
room. 

Respectfully, 

F. fl. FOURIER. 

PROPRIETOR OF 

The Parisian Tailor Academy 

and School of Art, 

1229 flreh Street, 

PHILADELPHIA, PA. 



'^"^ 



AND PRACTICAL GUIDE TO LADIES' TAILORING. 



57 



Alphabetical Index. 



B 

Basque— With two Under-Arm Gores i 2 

Back— English 2 2 

Back— French, with Dart 3 2 

Back— For Stoopiug and Round Shoulders 4 2 

Back — Seamless, Loose-fitting 5 2 

Back— Seamless, Tight-fitting 5 2 

Back— French 5 2 

Basque — Parisian Dartless 9 6 

Blazer 10 8 

Basque- Seamless Shoulder 33 30 

Basque— French Bias with Straight Front 34 30 

Basque — With Seamless Front 34 30 

Blouse — Ladies' 20 18 

Belt— Spanish 29 . 25 



Beauty — Three Laws of.. 



Collar— Qneen Anne 8 

Collar — Long Medici 8 , 

Collar— Short Medici or Storm 8 , 

Collar— The Shawl 9 . 

Coat — Ladies' Box 9 , 

Coat— Parisian Tailor Dartless, Tight-fitting 10 , 

Coat — Ladies' Half-fitting Dartless 10 . 

Coat — Ladies' D. B. Loose-fitting 10 . 

Collar— The Coat, or Stand and Fall 10 . 

Corsage — Princess Front 31 . 

Corsage — Back of. 32 . 

Cape— Ladies' Yoked Circular or Organ Pipe 37 . 

Collar— Spanish Choker , 38 . 

Cape— Two Darted Shoulder 41 . 

Collar — Columbian, Front and Back 43 . 

Collar — Columbian, Middle Section 44 . 

Collar — Columbian, in Four Sections 45 . 

Cape— High Shoulder, Loose-fitting 17 . 

Cape— High Shoulder, Tight-fitting 17 . 

Cape — High Shoulder, with Yoke 17 . 

Cape— Military 18 . 

Collar— Pointed ig . 

Collar— Square Sailor 23 . 

Collar— Round Sailor 23 . 

Collar— Pointed Sailor 23 . 

Cape— French Opera 23 . 

Cape— Yoked 24 . 

Collar — Square Ripple 30 . 

Collar — Round Ripple 30 . 

Checked Material, Cutting and Making 

Colors to suit the Complexion 

Cutting the Garments from the Cloth 

Clean ing — Easy method of. 

Comparative Measurements 

Creases at the Waist 

Cutter and Employer 

Conclusion 

D 

Dolman — Wing of. 42 . 

Dolman — Ladies' 16 . 

Dressmaking and Finishing 

Drafting Paper 



Fire and Water and the Peculiarities of Materials.. 
Foundation of Success 



Q 

Girdle— Pointed 29 . 

Graded Patterns 

H 

Hood— Jelly-Bag 25 . 

Hood— The Cape 26 . 

How to Take the Pattern of an Old Garment 

How to Send Money 



Introductory 

Important to Beginners- 



Jacket— Ladies' S. B. Prince Albert or Skirted. 
Jacket— " D. B. " 



J 

t or 

M 



■50 



..29 
-30 
..31 
• ■31 
.38 
..38 
■39 
•■39 
..14 

••14 
-14 

•14 
..18 
■ 19 

■19 

..19 
..19 
..21 
..26 
..26 
■.47 
.■47 
-47 
••49 
•51 
••53 
-53 
-56 



..14 
■55 

■55 



-.48 
■51 



■25 

■56 



■52 
..56 



SUBJECT. 



Newmarket- I,adies' S. B... 
Newmarket— Ladies' D. D-. 
Newmarket Skirt 



DIA. PAGE. 



N 



Princess — Plain, Front of. 

Princess — Back of. 

Princess— Worth, Front 05 

Princess — Worth, Rack of. 

Princess— Worth. Side Form of.. 

Princess— Dartless 

Princess — Dartless Draped 

Princess — Seamless 

Price of Tailor-Cut Garments 



Miscellaneous .- 

Management ot the Workroom.. 



.52 
■54 



Reefers— S. B, and D. B 

Riding Train — Parisian Tailor, Front.. 

Ridinc: Train— The Under Part 

Riding Train — The Measures Used 

Riding Trousers— Front 

Riding Trousers— The Under Part. 

Riding Trousers — Hints on Making 

Riding Trousers--The Measures Used-. 

Russian Circular Cloak— Wing of 

Riding Habit Bodice 

Riding Habits — How to Clean 

Retail Price List 



Sleeve— The Coat, Jacket and Riding Habit 

Sleeve — Leg O' Mutton 

Sleeve — Gigot 

Skirt— Circular for Dres- or Prince Albert Coat 

Skirt— Umbrella 

Skirt—" 1830" 

Skirt — Parisian Tailor Seven Gored or Combination.. 

Skirt— The Felix 

Skirt— Three Gored 

Skirt — Four Gored 

Skirt— Five Gored 

Skirt— Si.>i Gored 

Skirt — Seven Gored 

Skirt— Worth 

Sleeves — Bishop 

Sleeve— Shirt 

Sleeve — Corkscrew 

Sleeve — Columbian 

Skirt — Draped, Diagonal Folds 

Skirt— Plain, with Shawl Back 

.Skirts — Hints on Making 

Skirt Draping 

Skirt- Worth, with Box Plaits 

Shirt Waist 

Seamless Waist— Parisian Tailor 

Seamless Eton Jacket 

Seamless Zouave Jacket 

Swiss Belts 

success in Cutting 



Trimming 

The Science of Color 

The Nine Points in Fitting.. 

Two Cannot Try-On 

The Voice of the People 

Terms to Agents 



.18 

.IS 



26 
.29 
30 
31 
31 
39 
39 
41 
55 



■32 
■.32 
■36 
■36 
■36 
■38 
•38 
■4' 
■ 50 
55 



■ 4 

■ 4 
• 4 
.10 
.10 
.11 
.11 
.II 
.II 
.11 

II 
.1 1 
.11 
.II 
.41 
41 
4' 
41 
41 
.41 
■43 
■44 
■<3 
.iR 
■23 

■ 25 
52 

S6 



49 
49 

■53 
.53 
•54 
■56 



u 

Ulster -S. B. Tight-fitting 

Ulster-D. B. Tight-fitting 

Ulster— D. B. With Cross-over Front.. 



Vest—Ladies' 27 

w 

Wrap— Ladies' Short 18 

Waterproofing Cloth— Easy Method of. 



..21 

..14 
..50 



r. A. BRADLEY 
Printer, Engraver, LiThcxjRafmer. 

\2i2 /AARKET 5TREET. 
PMiLAC)eL.pniA, Pa. 



-f 



m -^^'^''^ 






* COWPliETE mSTRUGTOte 

Practical Guide to Ladles' Tailoring. 



Containing Fifty-one Diagrams, devoted to the Illustration of popular designs in 
Ladies' Jackets, Basqjies, Seamless Waists and Costumes in all their variety 
of styles, including also the various styles of Ulsters, Dolmans, Riding 
Habits, Riding Trains, etc., etc. ; each Diagram forming a plain 
and practical object lesson. The duties and routine of the cut- 
ting room are also clearly set forth, incorporating the ex- 
I perience, practice and observation of the Author. As 

a practical gziide to the cutting board, this 
work forms the most complete work on the 
art and science oi garment cutting and 
making ever published. 

Pf^ICE, $3.00 



^^Copyrigted 1895.l2^ 

— BY— 

P. A. FOURIKR, PHI LAD A., PA. 



(ALL RIGHTS RESERVED.) 






